Project 13: Analyse an Essay on Photography

The Vertigo of Displacement by David A. Bailey and Stuart Hall

In one sentence, what is the central argument of this essay?

During the 1980s there was a shift in the way people view black photography as there was a move away from one guaranteed objective view to a concern with representing multiple views in both the arts and documentary photography.

The discussion in regard to photography is set within a larger socio-political framework.  Do you feel this is justified by the evidence presented?

Yes I do feel that the statement is justified by the evidence presented.  The essay refers to social and political changes, especially in the GLC and refers to to a change in documentary representation where truth and realism become blurred and multilayered.

To what extent is the argument limited to Britain in the 1980s, and do you think it would be useful to refer to related movements in other countries?

The essay mostly limits itself to Britain in the 1980s, although Robert Mapplethorpe was American and Rotomu Fani-Kayode was Nigerian born and lived in both Britain and America.  The argument would be more complete if trends in America and wider Europe were considered as the issues raised were and continue to be, relevant to all people everywhere.

The essay raises the issue of eligibility - in this case, whether or not a photographer of black subjects should be black themselves.  What are your views on this?  What are the wider implications of this issue?

Black photographers are not just black; they are young/old, male/female, gay/heterosexual etc and they may not, necessarily, represent the interests of their race and other factors may influence their work.  A non-black photographer may document black culture and issues equally or more dispassionately.  The essay focuses on black male photographers and subjects. but there are wider issues to be addressed: black females, females in general, privileged and poor, influential and downtrodden, able bodied and disabled as well as the issues of other races and ethnic groups.  The same questions could be asked of Asia; would issues within India only be fairly represented by an Indian Hindu photographer or can the conflicts in the Middle East only be represented by western photographers or should the work be undertaken by Middle Eastern photographers and, if so, which faith?