Professional Documents
Culture Documents
Photography is has traditionally been associated with fact, yet from its inception the
medium has been used for fiction as well. (photography as fiction book) In the mid20th century, the effects of wars, the great depression and anticommunist sentiments
had impact the views of artists and as such, real and factual documentary
photographs were lauded over the other types. (photography as fiction) However,
with A. D. Coleman's essay ''The Directorial Mode: Notes Towards a Definition" (1976)
heralded a change in perspective. Coleman criticizes the notion that photographs
automatically represent truth because of false evidence which could be presented as
true. (photography as cultural history)
The terms fictive documents and documentary fiction are hard to define because they
denote a contradiction of terms. Both terms refer to factual data such as interviews,
testaments, official records, etc. The aim of these are to tell a true story. However,
next to the term fiction or fictive, they acquire a different meaning. Thus, these terms
mean the fabrication of ideas and stories using factual data, intentionally blurring the
division between fiction and fact. (Hinken, 2006)
Fictive Photography requires the presence of the viewer for it to achieve its aim. This
is achieved by using a fabricated and artificial sense of authenticity which fosters in
the viewer a sense of trust, perceiving the work as being real. This truth presented to
the viewer is a subjective one as it is the product of the specific vision of the artist.
(Hinken, 2006)
The use of multiple media presented as primary evidence and the transmission of the
story across different platforms further emphasize the authenticity of the story
presented and the narrative becomes even more complex. (fontcuberta) In documents
of fiction photography, the viewer thus becomes participant as the he or she is free to
interpret the evidence and create meaning, guided by the artist (Hinken, 2006)
The blending of truth and fiction in photography alerts the viewer to the paradoxes of
contemporary reality. (fontcuberta) However, photographers are divided on whether
reality should be manipulated through photography or simply captured as it is. Master
photojournalist Henri Cartier-Bresson firmly believes a photographer's task to be
perceived and record reality as it is, without manipulating it in any way. Similarly,
photographer Arnold Newman believes in the importance of honesty in photography,
stressing that what makes good photography is whether it can be distinguished as
honest from dishonest. (Hughes 2012). In contrast, such theorists like Umberto Eco
presence of these actors posing as the artist, the fictitious persona appears to be real
as it is a phenomena taking place in reality not outside of it.(Sigler, 2010) Similarly,
Marcel Duchamp had impersonated and subsequenty created artworks posing as the
ficticious Rrose Selavy. (Russeth, 2003)
In Mohammed Bourouissa 's Priphries photography is he presents a series of largescale photographs which exposes the state of marginalized immigrant youth who live
in an unstable city. Each photograph recalls the realism of photojournalism, yet they
are staged fictional representations of the mixed race communities who inhabit the
areas. Bourouissa achieves this sense of realism through the strategically positioned
and cropped subjects, hinting at the truth-conveying nature of documentaries because
of their appearant spontaneity and proximity. (White Hot Magazine, 2010) Therefore,
through his photographs the artist challenges the traditional perceptions of
documentary as truth by using real and imaginary experiences together. The result
are photographed scenes which does not allow the viewer to separate the real from
the invented. (We Are the Open College of Arts, 2011)
While Bourouissa's works focus primarily on society and external conflict, Eileen Cowin
concentrates on the domestic scene. Her photography treat the contemporary famile
life, such as in her series Family Docudrama. Here she staged domestic scenes in
which she and the members of her family perform as actors. Not only does Cowin
blurr the boundaries between fiction and truth but she also addresses the boundary
between private behaviour and public performance through the medium of
photography. For her staged photographs, Cowin borrows from a mixture of daily
family interactions and soap operas. (photography as fiction) She merges truth with
fiction, but presents no conclusions to her stories, leaving this role to the viewer to
discern and make up his own opinions. (Zellen, n.d.)
Seung Woo Back 's intention in his photographs is to depict the world the way he sees
it while exploring the ambiguous boundaries between truth and fiction.nHis 'better
than vegas?' from the series Real World at a first glance appears to be a digitally
manipulated image of a real site. However there is no manipulation of the image as it
is a truthful shot of a real place. (citation) Therefore he has successfully
managed to make the viewer aware of his or her preset assumption that certain
images are immediately regarded as untruthful. In his other works like Real World II,
Back arranges small toy soldiers in a real landscape, looking as if they have marched
into a village. Using no special manipulation other than camera angles and the
placement of his subjects, the images still look fictional and unreal. As such the artist
outlines and challenges the notion that the viewer is always unconsciously under the
assumption that an unrealistic depiction is always connected to fiction. (Young Shin,
n.d.) Therefore, for the artist, the real world is equally capable of producing unrealistic
depictions using existing subjects.