The selection for The Lives of Great Photographers exhibition was a difficult one for our curators. The photographers in the exhibition were chosen according to five categories and we have displayed the best examples from each. Only photographers who had died and therefore completed their life's work were chosen as it was thought that only then could a photographer be judged.
But, there are so many photographers who could or should be 'great'. What does the word 'great' even mean in this context? Does the praise of an expert make a photographer great? Does a great life make a great photographer? Robert Capa lived a risk-taking, high-society, celebrity lifestyle and Weegee was a master of self-promotion, whilst others were more obscure during their lifetime but left a great legacy.
A couple of weeks ago, the exhibition's curator, Brian Liddy, and Anne McNeill, Director of Impressions Gallery met to discuss this question, and explore wider issues surrounding the exhibition. You can watch the video of the interview which took place in Gallery One right here:
Brian kindly agreed to write about the interview for our blog:
"I was feeling a bit apprehensive about being interviewed by Anne McNeill about ‘The Lives of Great Photographers’, which I had selected the photographs for.
"All of this was to be in front of an audience, and on top of that we were to be filmed by my colleague, Emma Shaw with a view to putting it on the web. Yikes! The whole idea for the event was Emma’s, and was arranged by another colleague, Fozia Bano. She knew it would go down well, said we should go for it and encouraged me all the way.
"So, Anne and I met beforehand to have a chat about the ‘interrogation’, but I didn’t know what questions she was going to ask me on the night, which made me nervous. Also, Anne is really knowledgeable, has strong views and isn’t afraid to speak her mind. All of this made me nervous, but I needn’t have been. Anne was great, and really put me at ease right from the start."
"Don’t get me wrong - it was a serious event, with important issues to be raised, but Anne phrased her questions as if she was more of an interested friend than an adversary. So, thanks to her I actually began to enjoy myself once we began.
"But in the end we talked about things like the history of the National Photography Collection, and why it's shaped the way it is. I explained that as an institution we’re much older than you might think. Not everyone knows that we’re part of a wider group of museums called NMSI which includes the Science Museum, and that we moved from London 26 years ago, but the collections here have been growing since the 1880s.
"It was good to be able to explain that although Julia Margaret Cameron’s work has been in our collection since that period, it would have been acquired as examples of albumen prints from wet collodion negatives rather than works of art. That side of her work would have been covered by the V&A Museum and the Royal Photographic Society.
"I was pleased that people asked questions, and that we were able to have a few laughs along the way. Now I’m looking forward to doing more events like last night in the future, and hope to maybe see you there."
During Leeds International Film Festival 2010, which I was covering for Film & Festivals magazine, I attended the screening of Son of Babylon. The film was preceded by an introduction from the director, Mohamed Al Daradji, who described it as a homecoming event, for although it was shot and set in Iraq, it was produced in Leeds. Mohamed, an Iraqi born filmmaker, lives in and completed his education in the city.
Review of Son of Babylon
The fact that it was produced in Leeds and that the filmmakers learned their trade in the West makes a telling contribution, as the film adopts formulaic road movie genre functions - a tried and tested method of portraying physical, existential and socio-cultural journeys. Yet this road movie's beauty comes from having such an honest, genuine and fresh perspective.
Set three weeks after the fall of Saddam Hussain's regime, the film follows the young Ahmed and his Kurdish grandmother through Iraq as they search for his father who has been missing for twelve years, having been forced to become a soldier and torn from his passion for music. In showing this child’s journey, the film also illustrates the journey that Iraq is currently undertaking; the past that brought it to this present, and a glimpse of possible futures.
The bilingual Ahmed, who can speak both Kurdish and Arabic, is juxtaposed against his elderly grandmother who is hampered by her inability to speak Arabic; he represents the youth of the country and hope for the future, which belongs to the young.
Although the American and allied forces feature as an occupying presence, the film never veers away from its main focus: on Iraq, Iraqi people and their concerns for the future. I thought this was a wonderfully subtle and adept way of acknowledging the occupation of Iraq, while asserting that the only way forward is for Iraqis to find and make their own future.
It would be some stretch to describe this as an uplifting story but there really is a well crafted optimism at its heart. Speaking of of well crafted, the landscape was used within the cinematography with such striking effect that the country really does adopt its own character.
After the screening, Mohamed took to the stage and humbly and admirably insisted that he is by no means the only force behind the film. The Director proceeded to call up many from the crew along with a representative from Screen Yorkshire, who were credited as being an essential factor in producing this film.
Isabel Stead (Producer) spoke about the Iraq’s Missing Campaign (IMC), which the film is supporting. IMC was established to campaign about and provide support to the relatives of missing and disappeared person in Iraq. Isabel explained that nobody in the United Nations, nor any department that they spoke to would take responsibility for, or supply them with the statistics regarding missing people in Iraq that they wanted to show before the end credits. The campaign intends to pressure the UN into doing something to address this problem.
Any spoiler questions have been left out, but one did lead Mohammed to explain that whenever he got stuck creating the character of Ahmed, he based it on his own experiences and feelings at a similar phase in his own life.
When did you shoot the film?
October 2008 - March 2009. Mohammed explained that a great deal of the shooting was a little problematic, but Nasiriya was a nightmare. The Mayor gave him permission to shut down the square, but during shooting, called and asked who gave them permission to do this! He said that he may lose his job and therefore they needed to wrap up in two hours despite having at least eight hours of planned shooting left that day.
How - as an individual – did it feel returning to Iraq?
Mohammed explained that alone, he is very afraid, but surrounded by family and friends it feels really good. He said that it's amazing to see how the country is coming along; that it's getting safer and more secure all the time. The Iraqi army and police - which they would much rather use than private security companies - were very protective and very helpful.
What was it like, shooting the scenes with the mass graves?
All the mass graves were produced, rather than shot on location, which was out of respect for all individuals and families involved. However, all the women at the mass graves in the film had lost loved ones and agreed to feature in the film in support of its cause.
Finally there was a difficult question from a man who had recently been to the northern regions of Iraq, and claimed that the characters being able to travel through borders so easily was implausible. Mohammed dealt with this tricky question in a very sensitive, but thorough manner and justified this feature of the story as the film was set three weeks after the fall of Saddam, and the chaos which ensued caused these checkpoints to break down. He further ratified his point by stating that the actress who played the grandmother had actually made that very journey.
A full interview with Mohammed Al Daradji can be found in issue 26 of Film & Festivals magazine. The issue was dedicated to the Middle East and Middle Eastern cinema.
Last November, I was covering the Leeds International Film Festival (LIFF) for Film & Festivals magazine. During that intense two weeks of film viewing I had the pleasure of interviewing the filmmakers behind the African set, British produced zombie-apocalypse film The Dead, which is playing at this year's 10th annual Fantastic Films Weekend here at the National Media Museum (9.30pm on Friday 10th June).
Prior to the screening at LIFF, I met up with Howard and Jon Ford, the brothers responsible for writing, directing, shooting and producing the film, along with the film's main star Rob Freeman. It is really heartening, meeting a group so enthusiastic about their film; a truly independent film, funded primarily by the brothers themselves. Further still, to see the lead actor get so strongly behind this along with the filmmakers gives more indicators as to the energy within and behind the production.
Review of The Dead
The film really is a genre homage on many levels, fitting equally perfectly as a contribution to the zombie movie, the road movie or the buddy movie, with Leone infused nods to the spaghetti western chucked in for good measure. All genre elements are utilised lovingly and knowingly rather than cheaply and exploitatively and the sheer fact that so many genre elements can be infused without ending up a complete mess shows for some great script writing ability.
Lt Brian Murphy (Freeman) (a character based – lovingly rather than lazily – on Leone's Clint Eastwood/Man with no name) is a mechanic, who after having attempted to flee the continent of Africa in the opening sequence crashes just off of the West coast and steadily sets on his journey inland in an attempt to find some way of getting back to his family in the US. As he makes his way inland, he runs into Sgt Daniel Dembele (Prince David Oseia), a soldier who has deserted his post to return to his village in search of his wife - who was killed in the opening sequence - and his son, who has been taken to a survivor's base in the north.
This is all you need to know of the plot as it is rightfully and elegantly simplistic. As with all great genre cinema, the film keeps all elements that make the formulaic plot recognisable and simple, but deviates from this formula enough to say something interesting and give the audience a completely new perspective on a familiar setting.
Without doubt, the major game-changer here is the setting of Africa; the landscape is so at odds with the post-apocalyptic, claustrophobic urban environment seen in so much zombie-media in the last thirty years and for this reason has been unjustly compared to the Resident Evil 5 game, which is also set in Africa. Resident Evil 5 has taken a series full of suspense and intrigue with a slow burning anticipation at its heart and turned it into a mindless, dull, explosion-fest. The Dead, adversely, takes a genre that, through the evolution of the 'fast zombie' has strayed from its suspenseful roots; this places itself firmly back there, complete with slow zombies and a well crafted, laboured suspense rather than cheap jumps and breakneck editing.
The Romero influenced slow zombies are complemented by the Leone influenced long takes and expansive landscape shots, with zombies slowly but inevitably filling that vast landscape. This technique allows the suspense to build constantly, to the point where the slightest setback (stalled car, jammed pistol, etc) can turn the threat from constantly steadily building to imminently present in a matter of seconds. It is this slow burning suspense, along with well crafted set-pieces that makes this film a very worthwhile contribution to the genre.
It lacks the blatant political allegory of the Romero films, yet in an acceptable way, never becoming pointless or apathetic. One of the worries I had about the African setting was the way relentless liberal academics (myself, unfortunately sometimes included in this category) would be poised to criticise a film with the central white protagonist in amongst the 'zombified' natives of Africa, yet having seen it, I believe the way the buddy relationship is handled along with the representations of tribesmen and local militia met along the way easily do enough to make some statements on humanity without relying on lazy and potentially offensive typecasts.
Interview with the Ford brothers and Rob Freeman
(As will very shortly become clear, this interview took place before Mike watched the film.)
First of all I haven't read anything about the film as I haven't seen it yet(see?)and I do like to go into films with as blank a slate as possible; especially when it has picked up quite a bit of buzz as this has since playing at Frightfest. So, my questions will be more about you guys and genre film in general.
Fast Zombies or slow Zombies; which have you chosen, why, and was this a lengthy discussion?
Howard: Definitely slow zombies! Not only was this how our inspirations such as Romero did it, but from a directing perspective it was also the best way to make the film more suspenseful as the fast running zombies force you to shoot an action sequence.
Did you have a premise and then added the zombies to that, or adversely did you think: zombies are cool, let's build a story around them?
At this point Jon pre-empts a later question going back to what initially lit the filmmaking fire in his belly; he explained:
"Seeing Dawn of The Dead at such a young age really made me want to be a filmmaker, so this script has been in the process of being made for a very long time."
Howard: We had always wanted to do a movie about a lone man in an unfamiliar landscape, but it was when shooting all kinds of TV commercials in Africa that we discovered these un-tapped locations, and at the same time we were getting the feeling of having worked on commercials for so long and that this was paying the bills but just not fulfilling our dreams. Then a commercial for a well known brand of nappies tipped us over the edge and Jon said "we have to do this Zombie film now".
How has current momentum behind zombie media helped? For the last ten years, starting with the original Resident Evil games, coming right up to the present with the TV show, The Walking Dead, zombies have been an increasingly successful commodity. Even specifically in Britain, we have had Dead Set, 28 Days Later and Shaun of the Dead.
Howard: It was 28 Days Later more than anything else, that enabled the Z-word to be used in pitching or trying to establish partnerships, even though 28 Days Later doesn't technically feature 'zombies'. This and Shaun of the Dead had done so well financially that it gave people confidence in the genre again. We had wanted to do a zombie movie since teenagers but the time had to be right if it was to work. I then went to my accountant to tell him about the idea, thinking he would laugh me out the window but not at all, in fact he offered to match my finance pound for pound and became an executive producer!
How have your journeys to get here been?
Rob came in at this point to reveal the extent of Howard & Jon's passion as filmmakers – he is visibly impressed with the filmmaking brothers after hearing their stories.
"When they were young, they would never go out and spend money on having a social life; they would save up and buy film equipment, going out all night shooting short films rather than going out on the town."
Co credits – what is the situation here? It always interests me when filmmakers make a point of pluralising the creators like Powell and Pressburger.
Howard: We have been compared to the Coen brothers – and embarrassingly, the Scott Brothers - but that's just the way it is. I have been directing and Jon as DOP through three features and well over 100 commercials and this is the way it usually works. Yet with The Dead, Jon had been so heavily involved with the script and initial concept it was only right that he had the chance to co-direct. However, as we got going, the reality of the tough shoot in Africa meant that Jon had enough responsibilities as a DOP so mainly we slipped back into our usual roles with me directing, but at the same time we were both as involved and invested.
Rob, how and when did you get involved?
Rob explained that he was taking a break from acting over in the states and came over to England to do some inline skating, a personal hobby. He met a girl who knew the Fords, and acquaintances were made. When it was time to start putting this zombie film together, Howard and Jon instantly thought of Rob. Howard remarked that
"probably no other actor could have survived the shoot as Rob is a fitness fanatic and this was one hell of a tough ride"
and anyway, his piercing blue eyes were essential to the role.
We spoke about their experiences on the shoot.
Howard: Rob got malaria and even features in The Dead whilst almost dead for real; "three days from death" as the doctor had told us at one point. For a shot in the film where his character Murphy has a fever, [Rob] had been wheeled out of the hospital, had his drip taken out and shot it right there whilst still delirious.
Howard reveals that he was mugged at knifepoint on their first day in the West African city where they would start their journey. Because his licence was taken, the production had to pay the police to keep him out of jail.
"We would have money extracted from us constantly, a lot of the time this was by armed police. We also had to wait five weeks to get all of our gear out of the ports there and when sufficient money had been parted with to get it in, some of it had been damaged and some of the prosthetic props had even melted in the heat."
Jon: Having come so close to death many times during the shoot, I still sometimes wake up in the middle of the night in a sweat, thinking I am stuck back out in Africa on location. A big part of me wanted to go home the moment I arrived, but luckily Howard persuaded me to stay.
Rob: I felt that something strange had been going on. I and many others felt that we may never get back home.
Howard: Although it was an incredibly harrowing experience, the African people in the villages that we encountered were fantastic and even though they hadn't even seen cameras before they agreed to become involved in the film, often acting as zombies or survivors. We all remain grateful for the people allowing us to film in their homes and villages and hopefully adding to the unique appeal of the film.
Come and watch The Dead on Friday night and decide for yourself - don't forget to let us know what you think.
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We’re in Bradford in the UK, and we’ve got seven fantastic floors of exhibitions and interactive galleries dedicated to photography, film, TV and new media. The blog is written by staff and takes you behind the scenes at the Museum.
