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New documentary filmmaking and the Social Landscape

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New documentary filmmaking and the Social Landscape

The circle of documentary examination of humanity was closing until it reached the closest spaces intimate photography, the record of the close circle of friends and the family itself. By oscar colorado nates with the family of man exhibition , society had examined itself on a macro level and had emphasized, as was required in humanist photography, only the positive aspects of people and their relationships with others. On the other hand, the new social landscape unmasked those facets that society itself preferred to avoid.

The circle of documentary examination of humanity was closing until it reached the closest spaces intimate photography, the record of the close circle of friends and the family itself. ©larry sultan photo  larry sultan starting in the 1970s, two important phenomena occurred for photography in general and social documentary filmmaking in particular.


The negative consequences of becoming an independent

First, with postmodernism the divisions of photographic image manipulation service genres in photojournalism, photodocumentary or artistic photography began to be diluted to the point of not being able to clearly distinguish in some cases when the work of art began from the conceptual point of view and where the registry aspect ended. The second aspect was the stream of photographers who captured his innermost circle.

Artists like larry clark, nan goldin, larry sultan or richard. Billingham to name just a few would delve into their closest circle of friends and family to show. An aspect of the human being that had not been. Revealed before through photography. Nan goldin photo © nan goldin following the mood established by arbus and winogrand , the gaze of. The intimate photographers focused on the less flattering aspects of their personal space billingham recorded his workingclass, dysfunctional family with an alcoholic father goldin to the transvestite friends of his.

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Street photography had produced some magnificent pieces

But even more subversive, and terrifying to the CEO Email List mainstream , were sultan and clarks portrayals of life in the suburbs. Those apparently aseptic spaces revealed that complex intimate family. Relationships and the abuse of drugs, weapons and sex among ordinary middleclass youth were hidden under the rug. Along with this indecent gaze from the closest circle, intimate photography became more and more defined towards an aesthetic choice.

Both goldin and billingham would bet on a point shoot treatment. As in stephen shore , joel meyerowitz and the chromatism star, william eggleston . Larry clark would apply an iconographic treatment along the lines of robert frank , william klein or garry winogrand. Larry sultan would create a whole suburban aesthetic with that powerful californian light and exalted colors. All these iconic choices also clearly speak of an authorial will not to call it an intention that increasingly turns its back. On the recorddocument and opens itself more to the field of art.