Photographic Series Research #2

Memories  & Constructed Memories  & Perspective

Whilst doing research for how I'd reflect the idea of constructive memory on to a staged photograph, I came across a passage in a book called Psycho Thriller: cinematic explorations of the mysteries of the mind ( Chapter 7: Memory and the Problem of Existence) by William Indick, which pondered on the concept that life its self is a lie. This is because once an event or phenomenon has occurred, we recreate the experience in our heads forming subjective interpretations. A line that stuck with me from this book was, 

"What is the most unreliable form of court evidence? Eyewitness testimony." 

The human mind is not a camera and can not record a moment to its most accuracy. However, Roland Barthe's Camera Lucida: Reflections on Photography states that, "what a photograph reproduces to infinity has occurred only once: the photograph mechanically repeats what could never be repeated existentially."  From both of these concepts, I came up with the idea of staging a murder scene. However, each photograph will be from a different perspective, telling slightly different versions of the event. This is to mirror the concept of constructive memory and how each individual remembers selectively; remembering some events but then exaggerating others, whilst also fabricating some parts.

I originally wanted to sew and embroider, in great detail. However, I feel that idea should reflect more on the history of embroidery and traditional roles, which does not fit my idea of constructive memory in a crime scene. I did want to still incorporate this idea of exploring material intervention in my work. I then referred back to the first quote from Psycho Thriller and developed in to having a kind of detectives evidence board:

   

I am planning to hang my piece up in this style as I'd like to highlight that I am trying to put the pieces together to this crime by using peoples fabricated, altered or exaggerated memories. 

1 memory per person = 1 photo

I began to look at a few photographers and directors who have staged their photographs in a cinematic way for inspiration and reference.

Gregory Crewsdon

Crewsdon stages cinematic stills of suburban drama. His work is mostly melancholic and surreal. He works with a large production teams. He deals with lighting, big elaborate sets, casts in the same way feature films deal with their set. His pieces blur the lines between reality and fiction which I would like to incorporate within my work. Crewsdon uses his choice of location to reveal anxieties, fears and longing. 

I want to create a series that tells a story much like his images. There is silence and stillness in his work which I  though was interesting as he photographs people doing everyday things but in such a surreal surrounding. Looking at his work made me consider all the factors of lighting, setting, props, models in more depth which i have not yet done. His work appears to be more atmospheric which contrasts with the tone I want to create with mine. Because each photo is a memory from each person, I want to reflect more on what is going on in their head and how they interpret the situation. 

JULIEN MAGRE

Julien Magre's work was of great inspiration to my photo series. His 'On the Road Dream Narrative' is a dark, mysterious series of childhood memories, dreams and nightmares. This series consists of 

night shots with a harsh spotlight on the subject. His images are striking due to the darkness of the back ground with one light source.

I am really drawn to how mysterious the images are, and how they make the viewer feel so isolated but extremely drawn to the subject. Each photo has the feeling as if they were taken in the spare of the moment/ caught in action because if the quick flash from what appears to be the headlights of a car.

ETERNAL SUNSHINE OF THE SPOTLESS MIND (2004)

Magre's work in this series reminds me of Michel Gondry's Eternal Sunshine of the Spotless Mind. 

Gondry tackles the same topics of memories, dreams and nightmares in the film, However he focuses on more of the erasing of this. As a scene occurs in depicting this erasing, Gondry has a set what is completely dark with a singular blue light to illuminate the subject. This takes the dream or memory and turns it in to a nightmare as it shows us that the viewer is lost in the cold, darkness where he doesn't recognise anything around him.

As I will be exploring the themes of constructive memories and perspective, I feel like the concept of having very dark backgrounds with only selected bits illuminated will reflect this. This is because people only remember specific things about an event, things that stick out to them. When I personally recall a memory in my head, I focus primarily on the actions of what is going on and less on the surroundings. I'd like to reflect this on to my work.

DRIVE (2011)

The feature film Drive directed by Nicolas Winding Refn and cinematography by Newton Thomas Sigel. I'm really interested his use of lighting, particularly the style of film noir at night. He plays with the use of shadows and the sharp contrasts of colours within lighting. Sigel uses coloured eery lighting to highlight the dark sides of the narrator.

For my shoot, I plan to explore how I can use lighting to depict the darkness of a crime scene. In addition I really want to create a dreamlike/nightmarish stylised series as peoples memories are often exaggerated or altered. As I have not played with or explored lighting within my work, I thought this would be a great opportunity to do this within this project.