Unlike films, photographs are usually taken to be real, rather than
fictional. As Mick Gidley shows however, it is a short step from
speculation about what is going on in a documentary photograph, to
full-blown make-believe. Reality is not an impediment to fiction but
a stimulus to it, and this can be found in novels as well as in
staged and directed photographs.
Mark Durden interviews Sarah Dobai and they discuss the
influence of cinema in her work and the tensions between staged and
documentary photography. Her most recent work, featured in this
issue, developed out of observations of how people behave in shopping
malls. Studio/Location Photographs continues her interest in
characters whose behaviour is dictated by circumstances beyond their
control.
Since Walter Benjamin remarked that Atget photographed Paris
as if it were the scene of a crime we have become familiar with
restrained art photographs being compared to forensic photography. It
is striking then that Malcolm Gilbert, who witnessed directly the
violence of Northern Ireland's Troubles, instead draws his
inspiration from pulp fiction novels and films. The excess of these
genres gives him space to make images that articulate experience that
would otherwise be unspeakable.
Caitlin Duennebier's work attempts to understand her mother's
struggle with mental illness; something which has been part of both
their lives for over twenty years. Her mother has also recently
returned to the Catholic Church which has reintroduced the figure of
the Devil to her life, in particular as the embodiment of the fears
brought about by her illness. Through a combination of documentary
and staged images, in which she dramatises her mother's relationship
with the Devil, Duennebier's work shifts between dark humour and
heartfelt portraiture.
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