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Family Photos : an Exploration of Significant Exposures University of Lethbridge Research Repository OPUS http://opus.uleth.ca Theses Education, Faculty of 1999 Family photos : an exploration of significant exposures Blomgren, Constance Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 1999 http://hdl.handle.net/10133/93 Downloaded from University of Lethbridge Research Repository, OPUS FAMILY PHOTOS: AN EXPLORATION OF SIGNIFICANT EXPOSURES ©CONSTANCE BLOMGREN B. Ed., University of Calgary, 1983 A Thesis Submitted to the Faculty of Education of the University of Lethbridge in Partial Fulfilment of the Requirements for the Degree MASTER OF EDUCATION LETHBRIDGE, ALBERTA April 1999 DEDICATION To into this inquiry is a personal journey and I appreciate my family's support for and interest m my work. I hope to honour the oeuvre of my family's snapshots and the people who made the photographs, on both sides of the camera. - to Terrance, Anastasia and Mary, for believing in me - to Mom and Dad, for trusting me - to Nicholas Osachoffand Mary Murphy, for being family photographers at ABSTRACT This henneneunc inquiry into the significance of family photographs in our personal and public lives explores the relationship between the subject, the photographer and the viewer. The discussion uses the photographic oeuvres of the author's paternal grandfather and maternal grandmother as the basis of the exploration. Themes which appear include the following: the lepresented and projected images of a family within famiry photos; the significance of gender in the making of snapshots; and, the influence of history and religion upon families. The discussion also includes the relationship between art and photography, art photography and the snapshot genre, the role ofwomen within photography and snapshot photography as a method of visual narrative. The author delves into hermeueutics as an interpretative framework when viewing famiry photos. Semiotics, and Roland Barthes' Camera Lucida (1981) inform the discussion in addition to Jung's matriarchal consciousness as two alternative frameworks for interpreting family photographs. The study indicates that family photographs are visual artifacts winch document and authenticate the as a visual form of life writing. Data from the photographic industry indirafe* the heavy involvement ofwomen in famiry photographs which the study links to the nmcgmahsed role ofthe genre. To interpret the significance of the ubiquitous family snapshot involves the hermeneutic circle as the "text" of the photograph involves the inter-textuality of other previously encountered texts. hr PREFACE My nrvotvement wimphotography began when I was a chikL first as a subject, then as a viewer. In my teenage years, I began making my own photographs and my relationship with the medium has continued to expand as the years have passed. In this way, the inception for this thesis has been a series of moments strung together rather than a flash of inspiration or an idea sparked during a singular conversation. My purpose, other than to fulfill academic requirements, is to explore the significance of famiry photographs. I have explored what they mean to me and perhaps to others. Although the primary audience for my writing has been my committee members, because of the narrative and interpretative style ofthis exploration, a general audience may find merit in my work. I have observed that in brief conversations with various people, from fellow graduate students, to colleagues, to friends and to casual acquaintances, that they have all expressed a genuine interest in the topic and have appeared curious about my work. This perhaps speak of the rote snapshots play in our lives and their significance as an artifact of our existence. My thesis has two pivotal themes. The first is the fact that family photographs (a term that I elucidate in the first chapter) are an integral part of modem life throughout the world. The second rests upon the distinctive nature of famiry photographs which contrast with all other photographic genres. Unlike professionally created photographs, family snapshot are the privy of the amateur and this makes them personal, common and margwiiihW; T #nrplf>w> thfe mar^naKntinn and the Hfamcriveness nf snapshot* throughout mytexL v My method of inquiry has been primarily hermeneutic although semiotics, narratrve inquiry and phenomenology have each played a role. In the first chapter, after elaborating essential background information, I introduce the reader to the families involved m my interpretations through the first set of photographs. The following five chapters then follow a similar pattern. They each begin wim a scanned black ani white photograph from each ofthe farmhes involved, the Osach^ images provide the point of departure which guides the chapter's exploration of a range ofissues and topics. I have explored the trinity of the subject, photographer and viewer mclrvkiually by chapters (Chapter 2,3, and 4 respectively). Chapter Five and Six overtly includes all three roles. This attention to the photographic trinity is somewhat unique to this thesis, as most academic writing, regardless of discipline, rmmarily focuses on the role of the viewer. Due to the hermeneutic nature of my work, I did not choose all ofthe photographs in advance. As I wrote each chapter, I would select the image according to its attraction to me. its punctum (Barthes. 1981). The issues which I discuss had emerged by the time I began writing and they arrived as part ofthe <nnnulative effect of graduate courses and reading widely in a variety of areas including: art, aesthetics, the history of photography, film studies, semiotics, hermeneutics, psychology, gender relations and sociology. As the broad range ofbackground reading indicates, I have encountered and explored the relationship among family photographs and numerous disciplines. This has not been ermrery by choice but instead dema very nature of family pfaotograr^ life. In fact, I have left some topics unexplored perhaps for future inquiries, either by vi myself or by other scholars. The first chapter begins with background information concerning my lifelong fnvnh/ement with photography arui an fntmHiwtinn to my p«t<»rna| arttf wfltf^ffll tflma*W whose photographic oeuvres I use for the basis ofthe explorations into the significance of family photographs. Beginning minis chapter and throughout my writing I examine issues that relate to the famiry including: the composition and disposition of a family; the represented and projected images of a family within family photos; the role ofthe subjects, photographer and viewers within a family; the significance of gender in the making of snapshots; the impact of history upon a family, especially immigrant families; and the influence of religion upon family members, especially the family photographer. These themes appear throughout all six chapters for they are central motifs within family photographs and therefore of this inquiry. Following this initial introduction, the second chapter discusses the relationship between art and photography, art photography and the snapshot genre, and the role of women within photography and snapshot photography as a method of visual narrative. These issues cascade down urwn each other and rrovkle an imrMrtartt context for my exploration and interpretations, although this chapter with its numerous topics was difficult to write. In Chapter Three, I discuss bermeneutics and how this interrffetative tool paralfelsu^ viewing rxocess involved m notion ofhome, and how a conceptual landscape appears in photographic images and how viewers easily telievewliat they see in snap a concept which I initially address rathe preceding chapter. vii Chapter Four uses semiotics to interpret photographs and I have included a discussion ofthe noted book, Camera Lucida (Barthes, 1981). In his book, Barthes sought out the essence of photography and highlighted the importance of desire and death. As part of desire, I examine fetish, m the traditional sense ofthe word, and I also examine the role of death in photography, hi addition to the significance of death, I have included the significance of fife because as a scholar, a photographer and a mother, I believe that life, too, has its influence upon family photographs. My discussion ofthe significance of life continues in Chapter Five where I discuss Jungian psychology as a imerpretative framework for photographs. I examine the matriarchal consciousness and the subconscious influences at work when one is a subject, photographer or a viewer. The Jungian interpretation ofthe cycle of life picks up themes from Chapter Two with the relationship between young and old and the significance of gender, hi Chapter Six, I have attempted to weave together my interpretations and have included a third photograph to interpret, one in colour of my young famiry. This third photograph is a method to summarize and conclude the numerous issues that the inquiry hag hronghr forth Th*> gpilngw i« my final arfHraM to th*> r-arW hnt an mtorpnwtativi* discussion never ends, it merely shifts form. As I alluded to earlier, the weaving together of the various disciplines, topics and issues has been challenging. However, I felt that the exploration required at least an attempt to pull together these influences upon the interpretation of the significance of family photographs, hi an effort to overcome unity problems, I have used two levels of metaphors to structure my discussion. At the chapter level, a carefully selected viit photographic term supplies
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