The Company propose to look at two photographs of French photographer Henri Cartier-Bressona, thematically linked by a single concept — the "crowd" or community of people. These are good pictures.
The first photo is shot in 1954 at the Exhibition of Economic Achievements in Moscow and called "The Soviet Union. Moscow. 1954." Second — filmed in 1948 in Shanghai (China) and is called "The last day of the distribution of gold gamindanavtsam. Shanghai. 1948."
When I showed you the first photo of the uninitiated, the people and asked the question, what kind of society, the answer was: "It is something totalitarian and evil." The answer, as they say, is on the surface, just look at the photos. But we must take into account that those who lived within the society, did not have such a keen sense. The circumstances were daily, familiar to many, perception and reactions are dulled.
Therefore, this kind of pictures made by Soviet photographers, practically does not exist. We had to come from other factors, on the other life to the familiar Soviet reality, reflected in the pictures, was a revelation for the "podsovetskoy people."
Such a man with a fresh eye of the "other world" was just Cartier-Bresson. And really, do you want to know what the Soviet Union, look at this picture. Here, all of his society, not 150 million, and 15,000, the quintessence. Accordingly, all the conceptual and concentrated manner.
Semi-official Soviet artists loved to write this kind of easel paintings, monumental paintings do, where they showed the sort of incarnation palitidealegii communism — "the great Soviet people" — a sort of major crowd somewhere committed in the rays of the sun communist. This was the art of the Soviet Union.
The photograph Cartier-Bressona phantom Soviet art painting lowered into reality.
Again, based on the concept of our themes and the rule of "one shot", if you set the theme of "Soviet Union" and find it in one shot, the photo-Cartier Bressona corresponds precisely to the execution of such a task. The Soviet Union then, at a glance — an evil mass of small "international." Notice how the "rational" are located in a crowd of "war bonnets" and what kind of those "war" in the foreground (just like in the pictures with fininspektara Shaikhet). Here that no person, the image of the typical Soviet type, angry and suspicious. Under the picture would only need to connect another sound recording "other country I do not know where it is so people can breathe freely." Then, obviously, the perception of the image and the absurd would be the best.
Looking at the second photo-Cartier Bressona also try to answer the question: "What is it?" Usually the answer was: "It is something lower." And again: "If you give these people something tangible, they will go over the head. "
In principle, the answer is almost accurate, but requires reasoning. The story of this photo is that. The course of the civil war in China showed that the Communists will take over the power over the country. In December 1948 the magazine "Life" Cartier-Bressona sent to China to take pictures of that, as there will be a transfer of power to the Communists. At this time (largely due to the Communist propaganda) in China fell sharply the value of paper money, a stormy inflation. And then the KMT party took the unprecedented (Chinese) solution: spread the gold reserve of money between people. Each had to give 40 grams of gold. Began "stavpatvarenne" near banks. Thousands of people in front of the bank vault into a single mass. The police did nothing. As a result, ten the man wasand crushed to death. Cartier-Bresson photographed once the crowd in line outside one of the banks on the last day of issue gold. The picture is called "the last day of distribution of gold KMT. Shanghai 1948"
Like the first photo is a snapshot of reportage. The photographer had to see and photograph (that Cartier-Bresson did). The impression of the photos are very difficult. The first thought (as in the previous picture), you can not bring people to the point where they lose their human appearance.
Communism to have been associated with the queue, with tight crowd. I saw it from the first years of conscious life (late 40's — early 50's) as he only came to this earth (in Vilenschina). They brought a barrel of smelly Komsomol members, and our beautiful, good people had to choke in line to buy this stuff.
The Chinese have to shoot at the crowd choked regrettable and discomfort in the heart of contemplation, as humble people. The crowd tips on the first photo evokes a feeling of helplessness and horror.
I have already had occasion to talk about the phenomenon of human biological space and its connection with the ethnic, cultural and social factors. After the observations come to the conclusion that every ethnic group has its own scale of individual space. In the United States, for example, whatever the place of, say, the window to the mail, or at the box office, or at the bus stop, people are so that does not touch each other. No one, under any circumstances, not running ahead (this does not even come to mind). Over 15 years have I had never seen before. Besides, by the window sill (the counter, cash register) can be as much as you need to until you appease the business. No one will ever manifest impatience. If you accidentally touch a hand or finger to anyone and do not have time to quickly several times to tell her "sorry" (and still smile), he turns away and surprised and questioning look on you. He wonders what to whom from it should be.
In the Soviet Union, everything was different. That's somewhere in the Pukhovichi or Lipnishkah open the doors of the rural bus. Man 15-20 passengers (all of the tickets) huddled in a man-mass so tightly that no one is able to go to the bus. Then someone breaks … Well, and so on. Meanwhile, nearby, on Vilenschina near Vilnius was not like this. Culture? Probably. In Warsaw, for example, people in public places, in transport, in the street, in the subway behave decently, nobody tsisnetstsa not kicking. But that's 10 years ago, a great universal store announces that "this, they say, of the day" will be selling radios (mostly old tape recorders and "tranzystary") at a price too low a few times. At 6 am on the appointed day at the entrance to the store, thousands of people huddled. When they opened the door, the buyers will take all: the police, and fences, planted the door and ran to the windows and counters, as the Mongol cavalry in the desert … (This is shown even telecast).
A cultural same people. And why they are the "transistors" or obsolete tape? Yes, and sold only a few dozen units. There was not Cartier-Bressona, and then we would become rich picture like "distribution of gold KMT."
Here, however, we are dealing with a psychological phenomenon, which is popularly called a "freebie". On this particular question. So let us return to the same queue. It is obvious that there is a biological space (territory) of the individual. We see that it is different in different ethnic groups. There is no doubt that all of this is related to the culture and society. And each has a base value.
However, it is clear, however, that this instinct etnasotsyakulturnay space of the person (individual) is very fragile. There are mechanisms that are tempora
rily at a certain moment can almost completely break down cultural base human society to turn for a moment to the herd, and the person in the special stage, to release the animal instincts.
Sometimes this happens by coincidence, from the "process" error organizers (the example of the KMT), anti-human policies of the (USSR), and worst of all, it becomes a matter of manipulators and provocative ideas. Evil has developed a system of technologies nishchennya of human freedom, the individual, the nation and the society.
This speech, however, is far beyond the scope of this topic. But the presence here of such reasoning comes from an awareness of the adequacy of the perception of art.
A terrible place, that the photographer in the picture — it is not exclusively Chinese phenomenon and appearance of the Kuomintang. We, the Belarusians are Europeans in similar situations look the same, and worse. Photo is contradictory reflection, but should focus on the feelings of shame, which it calls (after all, the projection itself) and self-pity these people.
Society, the power of the state does not have to stoop to samaprynizhennya person even caring about his well-being.
In conclusion, a few words about the author of pictures. Henri Cartier-Bresson is well known in Europe and in the world of photography. He lived a long life (1908-2004), but the peak of his creativity is necessary just for the middle of it. In the history of photography, he became not only their creativity, but also the fact that he actually learned the first reel in a creative and reportage photography, adapting to this camera "Leica". (Recall that the first "Lake" was established as a ekspanometra when filming. It was not designed for the creative photographic work. Leiko later became a cult camera in field photography).
The second feature of Cartier-Bressona — is that it has developed a special individual style of reportage photography vuzkastuzhkavay mobile camera. In a word — it's a sneaky spy, or invisible presence.
And the third — is itself a feature of his work. Cartier-Bresson had an innate photographic intuition. Working mainly in the sphere of the genre, he was able to anticipate events and scenes, and got a picture in the most remarkable moment (the principle of "appropriate frame").
Taking off in the main street, Cartier-Bresson made a lot of interesting and witty images, risking drowning in drobnatemi, but sometimes his keen eyesight and simple camera gave out these discoveries and creative accomplishments.
Cartier-Bresson was, perhaps, just about the only photographer from the West, which is perceived and published in the Soviet Union (probably because of the attention to the social topic). In the West, his name is also highly touted as an outstanding photography.
(The picture is "the Soviet Union. Moscow. 1954" are taken from the Internet, where it is available. Photo "Last day of distribution of gold KMT. Shanghai, 1948" peraznyaty of the album: Peter Galossi, Henri Cartier-Bresson. The Modern Century. — New York , 2010.)