Getting Close to Death and Dying
» TOM MURRAY
OBSERVING LOVE AND DEATH #1 sense of joy in the world. As a congregation we were not encouraged ‘to come together with The first funeralI attended was for a woman others to share in moments of exuberant and at I knew only distantly, being there to support times irreverent exultation’.3 In short, the service a friend who was much closer to her. It was a sad provided little succour for our sorrow; my friend occasion, as funerals for young people generally and I left with no more understanding of the are, and the experience was marked for me by trajectories that connect life and death than we the clumsiness of the priest, who knew so little had when we arrived. about the dead woman that he mispronounced So we went to the pub. her name a number of times. He concluded his address by asking us to ‘thank God for her leisure *** pursuits and other activities’. He was so awkward In H is for Hawk (2014), Helen Macdonald that I wondered if another priest had been describes meeting the canon of a local church to caught in traffic or suddenly taken ill, leaving discuss her father’s memorial service. At some him with no time to glance at a curriculum point he offers her a business card. The absurdity vitae before being called upon to address those of this banal object becoming the focal point forlornly assembled. of a meeting about how they might best As I was not close to the dead young woman, celebrate her father’s life provokes Macdonald to and it being my first funeral, I could (to an laughter. This miniature of the clergy as clumsy, extent) watch the ceremony as a performance. commercial and inept, an impediment to wilder, I was struck by a sensation that it has taken me more ‘natural’ expressions of love and devotion, years to figure out, if only in imprecise language: harks back to Gustave Flaubert’s famous church the service suffocated expressions of love; rendezvous scene in Madame Bovary (1857). it lacked life force. Here, a church official tours the would-be lovers There was no engaging articulation of the Emma and Leon around inscriptions of historical sublime or poetic, and nothing to link the worlds significance, pointing out architectural features of the living and the dead. No invocation of the and important personages. The increasingly dream space that Gaston Bachelard described as frustrated Leon notes that his love has become ‘intimate immensity’,1 nor a ceremonial nod to ‘immobilized inside that church just like the what Rainer-Maria Rilke called a ‘communion stones’.4 Milan Kundera describes how this with the universe’.2 No forum in which we could scene manages to capture ‘the concreteness of come to terms with this death, and regain a the present … the discovery of the perpetual
82 Humanities Australia coexistence of the banal and the dramatic that (left, top to underlies our lives’.5 bottom) What connects these examples is the church Boy at a Dhapi (Initiation) configured as banal (anti-spiritual), while Ceremony that the dramatic and sublime exist in secular followed a funeral at and experiential domains: in sex, love, the Dhuruputjpi, north east Arnhem Land. experience of death, and the natural world IMAGE: © TOM MURRAY (the goshawk in Helen Macdonald’s book, for 2008 example). They provide an image of the church Filming a funeral as a contrary guide in matters spiritual, while at Dhuruputjpi also illustrating the success of (late) modern Homeland for the society in the ‘sequestration’ (Anthony Giddens’ filmDhakiyarr vs the King. term)6 of a fuller comprehension of the sublime, IMAGE: © TOM MURRAY dramatic and banal truth of our mortality. 2003 Facing the reality of her father’s death, Helen Detail of Yolngu Macdonald can only laugh. ‘The laughter was hollow log coffin because there was no way of incorporating these (Larrakitj) painting signs of life into the fact of death. I laughed by Wuyal Wirrpanda 7 showing how human because there was nothing else I could do.’ flesh is eaten from The things we do because there is nothing else the bones by ants, we can do are various and not always immediate. from a sequence in Dhakiyarr vs It is nearly twenty years since that first funeral the King. and yet I am still processing it in this essay. PHOTO: © TOM MURRAY 2003
GETTING CLOSE #1 Dance performed at Yolngu funeral ceremony, A few years ago I began making a documentary Dhuruputjpi film that came to be calledLove in Our Own Homeland, from a Time.8 It was inspired as much by witnessing sequence in In My Father’s Country. Yolngu (the Indigenous people of north-east IMAGE: © TOM MURRAY Arnhem Land) funerary rites as by participating 2008 in their equivalents in my own community of DVD cover, urban Anglo-Australia. The contrast between In My Father’s these two approaches to death and dying could Country (Mayfan not have been more ‘stark’, as Frances and Pty Ltd; Tarpaulin 9 Films; Aust. Film Howard Morphy have noted. Moving between Commission; NSW these two societies, as I have for the last fifteen Film & Television years, has only magnified this starkness. Office, 2008). In regard to Yolngu funerals, the Morphys COURTESY TOM MURRAY have explained how spectacular, affective and aesthetic qualities (‘analogous to an operatic performance’10) are integral to their perceived success. These qualities, and their attendant audio-visual and metaphorical richness, are understandably a boon to screen storytellers, and two of my documentary films —Dhakiyarr vs the King (2004) and In My Father’s Country (2008) — feature sequences from Yolngu funeral and memorial ceremonies. But how does one go about documenting Anglo-Australian ceremonies and encounters with death and dying that have
Humanities Australia 83 limited spectacle and are ‘routinely hidden from Two initial points regarding screen intimacy view’?11 Here, if we are to believe the influential and association are relevant. Orson Welles once sociologist Norbert Elias, centuries of ‘civilising said that ‘the closer we are to the face the more processes’12 have shamed us into viewing universal it becomes’.15 Welles’s point was in
SO WHAT MIGHT BE REVEALED IN GETTING CLOSE TO THE FACES AND BODIES OF THE DYING WITH A CAMERA?
social restraint and the ‘control of emotions’ as relation to historical costume dramas, and the indicators of a successfully managed death. ability of audiences to see beyond the otherness Restraint. Lack of drama. These are significant of the historical figures. In short, close-ups challenges for a broadcast documentary. of faces help us to identify with characters as So I decided to get close … people. This is an important consideration when dealing with subjects that are difficult or little *** known to audiences, whether that is ‘death’ or ‘Indigenous person’. The photojournalist Robert Capa was fond Anthropologist/filmmaker David of saying ‘if your pictures aren’t good enough, MacDougall has described the way that faces you’re not close enough’,13 as if proximity was in film can become emblematic of bodies; everything. But, if we set aside the danger faced in the ‘quasi-tactility’ that screen intimacy by combat photographers like Capa, getting close affords there can be ‘liberation’ from social to the action poses the more delicate problem constraint and conventional ways of seeing.16 of altering or inhibiting the very thing that you This liberation can be revelatory, as Dudley set out to capture. This dilemma is not unique Andrew enthusiastically explained in regard to documentary, of course, and the debate about to the work of Jean Rouch, a pioneer of the ‘truth’ in ‘direct cinema’ and ‘observational- French ‘cinema verite’ movement: ‘Under the documentary’ has covered territory traversed subtle pressure of this approach, relationships within reality become visible, bursting into the consciousness of the spectator as a revelation of a truth discovered’.17
***
So what might be revealed in getting close to the faces and bodies of the dying with a camera?
OBSERVING LOVE AND DEATH #2
Phillipe Aries, who is most famous for his work on the history of childhood, is also an important figure in the historical exploration of attitudes to death. His seminal 1977 book (above) since Werner Heisenberg’s reflection that the L’Homme devant la mort (The Hour of Our Death) Close-up of act of observation ‘changes and transforms argued that, since mediaeval times, death in John Walker. its object’.14 With an additional nod to Europe has become increasingly ‘untamed’. IMAGE: © TOM MURRAY methodological developments and debates 2012 Social pressures have ‘banished’ death into around ‘participant observation’ and ‘reflexivity’ a private sphere of near invisibility, where it has in fieldwork-based social sciences during the begun to haunt our imaginations.18 Anthony twentieth century, which are also highly relevant Giddens, another sociologist, explained that, to documentary, I’ll now return to getting close during late modernity, not only has death on screen.
84 Humanities Australia (left) Douglas and Royealeene Batho.
IMAGE: © TOM MURRAY 2012
(below)
DVD cover, Love in Our Own Time (Screen Australia & Tarpaulin Productions, 2012).
COURTESY TOM MURRAY
become ‘routinely hidden’, it has also become removed to a prudent a ‘technical matter … removed into the hands distance seems less loving of the medical profession’.19 Clearly we also of things and people than need to add here other professionals in the the life in which death religion and funeral industries — a fact that the was the center’.22 communally experienced and family-oriented As a result of these experiences I resolved to death ministrations of Yolngu communities have make a film that would get as close to death as made abundantly clear to me. possible. It has been an unforgettable experience. Take the example of Wally. In his working life *** Wally had been a police prosecutor, travelling Before making the filmLove in Our Own across rural New South Wales to appear in Time, my exposure to the reality of death and small-town courts where ‘big orations weren’t dying was limited. I was terrified by the idea of necessary’. I’d managed only a few superficial death, and disenchanted by the funerals I had conversations with him before he’d plunged attended. The modern secular and religious into what seemed like the ‘final phase’. Family rites of my experience seemed incapable of the members had assembled in vigil during the sublime task of connecting the states of life and preceding few days, and Wally appeared barely death in any helpful or meaningful way. My last conscious of anything around him. His whole three grandparents had all recently died, and my being seemed concentrated on rasping attempts experience of their funerals contrasted heavily to extract a life-sustaining quantity of oxygen with the Yolngu version of such ceremonies.20 from the faintly antiseptic hospital air. I became aware that contemporary ‘death One morning, outside the third floor industries’ — from hospitals and nursing window of Wally’s wing in the palliative care homes, to funeral companies and religious hospice, an enormous rainbow was stretched organisations — all worked seamlessly to keep from the middle of Botany Bay to somewhere the fact of death away from public communities. near Mascot. Because I had started my round And even when people came together to mark early, I had already filmed a number of patients the fact of death, it seemed that the biggest responding to the rainbow; each had explained challenge one faced as a participant was to how they had drawn emotional sustenance exhibit civilised ‘restraint’ and a minimal from it. Now I approached Doug’s bed with expression of public emotion, as Norbert Elias my camera. Doug was over eighty and battling notes.21 I felt a deep affinity with Phillipe Aries’s terminal cancer with a sense of humour that observation that a ‘life in which death was had clearly served him well through life. He was
Humanities Australia 85 (right) Wally King with his wife June, in the middle of his oration.
IMAGE: © TOM MURRAY 2013
directing his wife’s attention to the rainbow: could sound faintly ridiculous here, but to see ‘Remember how we used to look for the pot of it in film is another matter. The absoluteness gold when we were kids?’ Royealeene answered: of his conviction and our visceral knowledge ‘Never found it though, did we?’ She had grown of his impending death combine to illustrate up in the country and didn’t come across as a an undeniable life force. What he succeeded in woman inclined to indulge fantasies. communicating was stripped of ego, full of love. Then, with impeccable timing, Wally — from In the viewfinder I could see that June was across the far side of the ward — piped up: now light in her chair, floating in sentiments ‘I’ve found my pot of gold!’ It took everyone that were clearly delightful to her. Still recording, a moment to register that Wally had broken a I slowly withdrew from them. Wally had invited spell that had plunged him into many days of me into this moment by raising his voice to silence. ‘And she’s right here!’ Wally took his the camera, but it felt right to now leave them wife June’s hand and squeezed it. Then began to alone. I was not conscious of how I had covered describe how he had spent so much time close to the scene with the camera, but felt satisfied that death that he had not only lost his fear of it, but the movements had been in tune with what was beginning to feel some hope for the future. had happened. I was on the other side of the ward, but quickly The sensation of synchrony between self and reached Wally’s bed and tracked the camera subject has been described since the earliest across lines that framed both Wally and his days of mobile ethnographic film equipment. wife. ‘I would not have been classed among the Jean Rouch saw the phenomenon as a ‘cine- faithful’, Wally addressed June (and the camera), trance’, and its more ecstatic qualities have ‘but now I’m getting close to it my hope is rising been described by pioneering ethnographic in my heart, in my breast’. filmmakers, such as John Marshall (‘You have I slowly zoomed in on Wally’s pink and puffy this feeling, “I’m on; I’m on … I’m getting it. face, a move that one would rarely consider It’s happening. It’s happening”’) and Robert during filming because it draws attention to the Gardner (‘as close to cinematic orgasm as presence of the camera. In this case, the move is I’ll get’).23 barely noticed. Wally, one puffy eye half-closed, Filming bed-bound patients in the palliative explains that he hopes to find June in the afterlife care wing of a hospice does not readily yield and that together they will become the ‘two ecstatic thought, but I was aware of a kind of happiest angels in the world’. I am aware that ‘condensing back to self’ as I left the intimacy of Wally’s vision of a transcendental marital future Wally and June’s moment.
86 Humanities Australia If I could imagine myself as a molecule of authorised him to say something he thought it (below) water momentarily held in suspension, I was was important for people (the world) to know. Noelene Kennedy now aware that the air was rapidly cooling Certainly it is clear to me that the camera can watches the rainbow – ‘That’s around me and, as if nothing more than a matter offer self-belief to ‘social actors’ (the people on telling me some of physics, my suspended state of witness had camera) in a way that validates thoughts as being thing’, Noelene ceased. I was returned to the olfactory realities of important enough to express. Perhaps there is no said, pointing to the rainbow. a palliative care hospice, to the artifical lights and better example of this than the context of reality IMAGE: © TOM MURRAY metal-framed beds, and to the mercantile whine TV and celebrity culture. A camera validates 2013 of daytime TV. the opinion-worthiness of a speaker and can Across the corridor Wally and June were still also act as an agent provocateur. Two decades holding hands. ago, prior to the flood of reality and ‘factual’ television, documentary theorist Brian Winston *** detailed how ‘direct cinema’ techniques provoked It was only much later that I realised actuality (real life) when he noted Molly Haskell’s Wally had taken me on an expedition into the claim that the titular couple of the documentary territory of my greatest fears, a journey to the A Married Couple ‘seem to have been catalysed furthest edge of life. He was reporting on the by the camera into forcing the marriage to experience of leaning against the boundary a showdown’.24
BUT I OFTEN WONDER: WOULD WALLY’S ‘REPORT FROM THE EDGE OF LIFE’ HAVE HAPPENED WITHOUT MY CAMERA?
fence that separated his living and his dying, and I have no doubt that the camera and my he was telling me that he wasn’t afraid. It was project was a catalyst for Wally’s extraordinary the first time anyone had taken me there, and oration. I don’t believe, however, that it was I am thankful to him for having done so. I am about the camera per se but rather about the certainly richer for it. permissive space in which he felt authorised to But I often wonder: would Wally’s ‘report express his thoughts and feelings. from the edge of life’ have happened without my camera? Would, for example, he have reported it quietly to June as they contemplated the rainbow? Would he have reported it to some other family member lucky enough to have arrived during this final window of Wally’s lucidity? My honest, if perhaps self-serving feeling is ‘no’, for a number of reasons. I think the camera offered Wally the appropriate platform for one last tilt on the stage of life. The camera allowed him to express something that in the course of ordinary life might have seemed, to Wally and others, like ‘making a fuss’ or, in Norbert Elias’s terms, emotionally ‘unrestrained’. Wally’s understanding of my filmmaking task gave him contextual permission to express something that I believe would have remained unsaid, given the lack of appropriate social contexts in which to say it. In other words, the camera gave Wally the physical, emotional and practical power that
Humanities Australia 87 GETTING CLOSE #2 communicating ‘empathetic co-presence’ (above) through audio-visual technologies.29 Jutta Thomas, only weeks to live and James Nachtwey, the celebrated American There is a politics to this proposal, of course, reading Don’t Sweat photojournalist, has described how much of in that we are asked (both as viewers and as the Small Stuff. his work is made at close range: ‘I like to work image-makers) to consider how we comprehend IMAGE: © TOM MURRAY in the same intimate space that the subjects and validate the other that is being represented. 2012 inhabit. I want to give viewers the sense that Further, as we come to terms with sentiments they’re sharing the same space with a photo’s of ‘fellow-feeling’ toward this other, we must subject.’25 The reverse of this is that as viewers consider our relation to them. In this regard, we are, more literally, sharing the space of we must account for the situational or socio- the image-maker. Leonard Retel Helmrich, cultural distance that may exist between any a documentary filmmaking colleague,26 argues of the agents in the matrix of representation. that his own body is more deeply inscribed in This may include gaps of context, process, the images he captures than it is in any image of media, represented, representer, viewer. If this him: ‘You are what you see. When you say that gulf is wide, how can we be sure to not do you see me, you only see a projection of me. ‘violence’ to the other? How can we ensure that If you really want to see me then you should see our ‘looking relations’ (gendered, encultured, what I see from the point in space where I am. politicised) are compatible with communicating In that case you are me.’27 in good faith? David MacDougall has argued that the We can’t. We try, and we submit to being body of the filmmaker is ‘inscribed in the judged, always understanding that our work camera’s vision’, and that as viewers we is part of an ongoing conversation. As Paul ‘respond to the filmmaker’s body as we Chaat Smith said at the opening of the National experience it through the decisions that guide Museum of the American Indian (in the hope the movements of the camera’.28 The flow that the institution would become a site of of communicated corporeality, between the ‘national conversation’): embodied participant–observer (with a camera), like any difficult conversation, it can be the subject and viewer, has led ethnographer rough going, especially at first. Let’s keep Sarah Pink to advocate the possibilities of arguing, because at least it means we
88 Humanities Australia are talking … But we’ll get better at this, important reason why he declines to look because we have to. I mean, it’s not like through his camera view finder at eye-level, anyone’s going anywhere, right?30 a practice he believes leads to the objectification of the subject (he does, however, use the LCD Accepting that it is impossible to represent screen to see what he is capturing). Instead, another with ‘complete understanding’, and he argues, ‘I become [to them] one of the that miscommunication is always possible, characters’; in this way he creates a form of Davinia Thornley has written that collaborative participatory drama where the presence of the acts of representation (acutely important camera may act as a catalyst for certain actions in cross-cultural environments, but true of but remains just another presence, merely ‘a part all acts of representation) revolve around of the whole’.33 Additionally, through his use ‘process as practice’: foregrounding the context of shooting angles (high angle, low angle) and of the representation and the production choice of subject and framing, Helmrich tries methods employed.31 to communicate his ‘emotional subjectivity’ James Nachtwey talks about approaching to the audience. people with ‘respect’ and ‘deference’: Helmrich has also spoken about ‘directing’ I do it slowly and gently and I think social actors through the movements of his about the way I move, the way I speak camera. His preferred movement is an orbit and the way I use the camera. I let them around key characters which he believes best know that I respect them and what communicates interrelationships between they’re going through … They become subjects. By shifting his camera orbit to a participant in the picture. I could foreground one person or another, he manages not make these pictures without their to communicate his perspective with regard to acceptance and participation.32 the subjects, indicating what (and whom) he
(left) Scene from Love in Our Own Time.
IMAGE: © TOM MURRAY 2012
Leonard Retel Helmrich speaks about entering considers most dramatically significant in a scene the ‘aura’ (less poetically: the close personal at any given point. space) of a film subject as a way of forging In briefly describing Helmrich and Nachtwey’s a mutual pact with them in the production techniques and motivations, I don’t want to of images. Helmrich understands this as a claim that the exercise of negotiated proximity relationship of complicity that refuses the solves ethical issues in either documentary objectification of the subject. This is an practice or viewership. There are critiques of
Humanities Australia 89 (right) John and Veronica Walker at church.
IMAGE: © TOM MURRAY 2013
both of their photographic projects. What I wish barely, just a few minutes earlier. I filmed him: (above, left) to explore are some of my considerations when this is what death looks like — disorienting, Veronica Walker says filming subjects forLove in Our Own Time. It is inscrutable, not quite serene, but certainly still. goodbye to her dead clear that the close scrutiny and presence of My life experience had not prepared me for husband John. a camera (and myself) certainly provoked and this, and I am relieved that the camera preserves shaped ‘actuality’ in a range of subtle ways. a distance between me and John’s dead body. (above, right) Audiences who have seen this film respond It was hard not to like John, and I liked him very Priest prays over the body of John Walker. to the subject matter and the obvious proximity much, so I kept recording and captured Veronica, of the camera, often remarking: ‘the families John’s wife, quietly stroking his face and wishing BOTH IMAGES: © TOM MURRAY 2013 must have really trusted you’. And, in exposing him the best of journeys. As Veronica moved their lives to such obvious scrutiny, they most away her son whispered a plea into John’s ear: certainly did. But beyond that, what they ‘Look after mum.’ John’s brother, less-at-ease appeared to trust most was a conviction that than the others, introduced himself as if the their stories might help others to navigate the body he addressed was perhaps just temporarily vast distance between health and sickness, living blinded: ‘John, it’s your brother’, he said. and dying. They were speaking to his spirit in the room, to the possibility of a consciousness nearby. OBSERVING LOVE AND DEATH #3 In this moment I am choosing not to think except in camera terms: where should I stand John Walker lay dead in his hospital cot, next? What additional angle will I need for the a towel tucked beneath his chin to prevent his edit? And yet I know that if it were not for the mouth from sagging open. He had been alive, if camera I would drown here. As an outsider I am
90 Humanities Australia not free to submit to grief, or to the relief that Scott MacDonald describes: the audio-visual all is now over. So I keep filming until everyone encounter draws us into an unavoidable dialogue leaves the room. with the subjectivity of the other. This is why I wanted to film close-ups of John and Wally and GETTING CLOSE #3 all of the other subjects in Love in Our Own Time. I wanted audience members to witness their Why did I need to witness and broadcast these own humanity in these dying men and women. images? Our work always comes back to self. And if that sounds idealistic, it is. The civilised Hans-Georg Gadamer explained that ‘when ‘deskilling’ of late modernist communities37 with something other or different is understood, regard to death, and the lack of any strongly then we must also concede something, yield — shared ritual and purpose in our approach to it, in certain limits — to the truth of the other’.34 have taken such a toll on our understanding of And for those of us in fieldwork disciplines who life that there is something radical about even explore the limits of our own knowledge as we the most modest undertaking that seeks to shed grasp at the understanding of others, the process light on dying. of yielding becomes a secondary part of our In terms of my own fear of death, I believe nature: as initially uncomfortable as it may later that psychologists describe what I have been be liberating. through as ‘exposure therapy’. It is one of the In The Ethnographer’s Eye, Anna Grimshaw legacies of John and Wally and the others in the argues that personal transformation and film, their gift to me, that I live with less mortal experiential knowledge have been at the heart fear. And I am more capable of grasping the of documentary endeavour since at least Robert wonder of life in the face of my own mortality. ¶ Flaherty’s (1922) Nanook of the North: TOM MURRAY has a PhD in The filmmaker must not be just media/history; his research and separated from his familiar world and teaching have focused on screen relationships; he must, in addition, storytelling, documentary and be prepared to submit himself to the Indigenous history. His screen experience of disorientation, vulnerability works have won numerous and ignorance.35 Australian awards and been selected for many international film festivals. I often feel that, as filmmakers traversing Tom has extensive experience in teaching screen numerous scholarly territories, the most production and facilitating screen research and important skill we bring to a subject is the storytelling in indigenous communities in Australia and the Pacific. His ongoing research interests are experience of yielding. Of yielding to an in the capacity of screen media to open new ways acceptance of the flaws of assumption, yielding of understanding in cross-cultural environments, to the delights of new learning, and so delivering and to help investigate ideas of memory, history, the yield we are ultimately responsible for: colonialism and place. He is a Senior Lecturer in production. As scholarly explorers, although Screen Media in the Department of Media, Music, not alone amongst fieldworkers, we have Communication and Cultural Studies at Macquarie been trained to accept disorientation and University. In 2014 Tom was awarded the Academy’s prestigious Max Crawford Medal. allow ourselves to be reoriented through encounter, but only so long as we remain able 1. Gaston Bachelard, Poetics of Space (Boston: to communicate the experience. Perhaps this Beacon Press, 1969), pp. 183–210. is what Scott MacDonald means when he 2. Rainer-Maria Rilke, quoted in Bachelard, p. 203. infectiously describes how cinema can be 3. Howard Morphy, ‘“Joyous Maggots”: employed as a mode of exploration for ‘sensuous The Symbolism of Yolngu Mortuary Rituals’, in learning and interchange’.36 Appreciation of Difference: W. E. H. Stanner and Screen media is a naturally inquisitive Aboriginal Australia, ed. by Melinda Hinkson and Jeremy Beckett (Canberra: Aboriginal Studies form. We examine the interplay between self Press, 2008), p. 145. (the viewer/witness) and other (as represented on screen) precisely because of the sensuality
Humanities Australia 91 4. Gustave Flaubert, Madame Bovary (London: 21. Norbert Elias, The Loneliness of the Dying, trans. Penguin, 2003), translated by Geoffrey Wall, by Edmund Jephcott (Oxford: Basil Blackwell, p. 226. 1985), p. 89. 5. Milan Kundera, Testaments Betrayed (London: 22. Aries, p. 315. Faber and Faber, 1993), p. 129. 23. MacDougall, p. 27. 6. Anthony Giddens, Modernity and Self-identity: 24. Brian Winston, Claiming the Real: The Self and Society in the Late Modern Age (Stanford Documentary Film Revisited (London: BFI, 1995), University Press, 1991), p. 168. pp. 159–60. 7. Helen Macdonald, H is for Hawk (London: 25. In Douglas Cruickshank, ‘Interview with Jonathan Cape, 2014), p. 150. James Nachtwey’, published on Salon.com as 8. Love in Our Own Time (Sydney: Tarpaulin ‘James Nachtwey’s “Inferno”: Pictures from an Productions/Screen Australia/Screen Exhibition — in Hell’, 22 April 2000, NSW, 2013). Available at
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