Posts tagged ‘avatar’

Photographer as white messiah: looking back at a picture I wish I hadn’t taken

Last week, I wrote about Avatar and its representation of an indigenous society. In response, a friend forwarded me this Op-Ed by David Brooks, where he takes my criticisms quite a few steps further.

The White Messiah fable, says Brooks, is offensive because, “It rests on the stereotype that white people are rationalist and technocratic while colonial victims are spiritual and athletic. It rests on the assumption that nonwhites need the White Messiah to lead their crusades. It rests on the assumption that illiteracy is the path to grace. It also creates a sort of two-edged cultural imperialism. Natives can either have their history shaped by cruel imperialists or benevolent ones, but either way, they are going to be supporting actors in our journey to self-admiration.

“It’s just escapism, obviously, but benevolent romanticism can be just as condescending as the malevolent kind — even when you surround it with pop-up ferns and floating mountains.”

I love this. He says it so clearly. And that clarity is helpful, because in practice this is a complex issue that can be difficult to understand and to spot. As a photographer who is interested in social change, I have been a “benevolent imperialist.” And that’s not what I want to be. I worry about seeing myself as an agent of positive social change when I am actually exacerbating a social divide.

And here’s why. It’s very easy to come from relative affluence (which you do, in this world, if you own a camera) and try to work for the betterment of others as an outsider, and end up further marginalizing or denigrating the very people you seek to assist.

For example, I worked for the International Rescue Committee in Tanzania in 2005, and part of my job was to document the work they were doing in the refugee camps along the border with Burundi. In that area, malnutrition can sometimes be an issue.

Juan Arredondo on behalf of the International Rescue Committee

I was making pictures in the hospitals, which the IRC ran, and I met a woman seeking treatment for her malnourished child. I asked the woman if I could photograph her.

She was extremely embarrassed. It took her a few moments to muster the courage to say anything. She said I could photograph the child, but not her face. She covered herself with a scarf. A hospital worker turned to me and said, “She is ashamed because her child is malnourished.”

When I think about that incident, I feel gross. Of course she was embarrassed! I would be embarrassed! Is there any mother who wouldn’t be? Can you imagine how awful she felt? Why was I so thickheaded? How did I think she would feel? Did I think she didn’t have feelings? Did I think she would feel differently than I would in the same situation?

I humiliated a woman. I basically coerced her into being photographed because I represented an agency that was giving her assistance. And I made what was already a very painful, stressful situation for her significantly worse.

It is I who am now ashamed when I talk about this.

And I wonder, how can I do better next time? How can I see these moments coming more effectively? What are the attitudes I need to change? What are the approaches I can take that will allow me to be more respectful and considerate of others?

Inherent within this discussion is the question of whether it is possible to make great art about a community as an outsider to that community. In her comment on last week’s post, reader Sittingpugs said, “Smoke Signals is indeed an amazing film not only because of its quality acting, directing, and writing, but also because the ethnic minority experience is told from within (not to say that an ethnic “majority” artist couldn’t create an equally authentic story or that every piece of ethnic cinema features Truths).”

I’ve had writing teachers that said, “Write only what you know!” and others that said, “Write what you don’t know!”

I think great art surprises us—it can come from anywhere, and be about anything. So I don’t think you have to be from a community to chronicle it with beauty and subtlety. But, it’s also very easy to become a hapless messiah, a benevolent imperialist, or simply someone who is not actually helping anyone. Especially with photography, there are issues of exploitation, power dynamics, and simply knowing where to be that make working with a community difficult to negotiate for an outsider. It’s still worth doing, but it’s also worth thinking and talking about.

Juan Arredondo on behalf of the IRC

And these photographs, by Juan Arredondo on behalf of the IRC in Colombia, are really nice. As always, you can click on the images to see his full photo essay, or click here.

Advertisements

January 14, 2010 at 5:03 am 7 comments

Avatar: a picture of the noble (sparkly) savage

Last night I went to see Avatar. The Imax screen at the Melbourne Museum is 7 stories tall, 32 meters wide, and featured a prim voice asking us to move to the middle to fill every available seat.

And no wonder. At yesterday’s count from boxofficemojo.com, Avatar had $1,063,151,759 in box office sales. As you’ve no doubt heard, it’s broken the $1 billion mark faster than any other film. Michael Carmichael of the Huffington Post called it “political dynamite” and “powerful art.” Clearly, James Cameron knows his audience.

And doesn’t.

I feel pretty weird about watching a movie that so blatantly returns to an unambiguous portrayal of a perfect, “untouched” indigenous society, dramatically saved from ruin by an outsider (who is, as usual, a white boy). My friend Thom Loubet said it well: “I mean, I feel like a cranky old man complaining about this, because it really is a fun movie, but in 2010, do we still need the perfectly innocent/noble/pure (clueless) native in our fictional narratives?! Give me ‘Smoke Signals’ any day.”

In that clip from Smoke Signals, the story Thomas Builds-the-Fire recounts is from Sherman Alexie’s first book of short stories, The Lone Ranger and Tonto Fistfight in Heaven, which is just an awesome book and I hope you buy one right this second and read it.

It’s not that we shouldn’t be interested in other cultures. It’s not that we shouldn’t fantasize about living in harmony with the earth (or Pandora) or building a better society. It’s just that I don’t like being told to idealize a lot of creatures that look like blue, sparkly Masai people who move through life to a soundtrack of Peruvian panpipes.

Because idealizing something is actually not the same as respecting it.

If I respect another culture, I acknowledge both how similar and how different I am to the people living within that other culture. I acknowledge that they have the same emotional range, mental capabilities, desires and potential for being annoying that I have. Idealizing someone sets them apart from you in a way that is false, just as dismissing someone also creates a false division.

And that’s why Sherman Alexie’s work is so fantastic. It is never false. It rings true, and you know it from the first line of the introduction to The Lone Ranger and Tonto. And if anyone is going to save the characters in Alexie’s fiction, it is not going to be some white person who has been to a fancy college, or has been a marine, or who photographs Victor’s father at a protest and wins a Pulitzer Prize.* (See excerpt in comment below)

It’s not the documentation of an issue that solves the issue, it’s the discussion that documentation creates. It’s the feeling a picture inspires; the connections and relationships it engenders; the kinds of audiences it reaches–that’s how a picture creates social change. And, as a photographer, you have some control over the kind of conversation you begin. For example, these two images by Richard Misrach and Edward Burtynsky raise serious cultural and environmental questions, but they start a nuanced conversation.

Richard Misrach

Edward Burtynsky

Avatar, even though it’s in gorgeous 3D, starts a one dimensional conversation. And yeah, I guess it isn’t really documentary work–those hammerhead-elephants aren’t quite that big in real life–but it does have an overt social-change message.

So anyway. It was a fun romp. But I wish it had been more thoughtful. And perhaps contained a single humorous moment. And I agree with Thom. He also said, “The art direction looks like an 11-year-old’s Trapper-Keeper–everything highlighted in purple neon.” My dad was reminded of Fern Gully.

January 6, 2010 at 7:22 am 36 comments


"In this way his work is more powerful in its moments of creation, when real human interactions are eroding racial stereotypes, than in its exhibition. And if the work succeeds, it is not because Subotzky can use a camera like no one else, it is because his photographs embody his efforts to confront social injustice on a personal level." --Charles Schultz on Mikhael Subotzky

PhotoPhilanthropy’s blog is written by Eliza Gregory

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 86 other followers

@PhotoPhilan

Error: Twitter did not respond. Please wait a few minutes and refresh this page.

Archives

November 2017
M T W T F S S
« Mar    
 12345
6789101112
13141516171819
20212223242526
27282930