Susan Meiselas
Voyages

  • United Kingdom
  • en
  • en
  • 42'
Susan Meiselas | Voyages

Synopsis

This documentary immortalises the meeting between two giants of their discipline. The first, British filmmaker Marc Karlin (1943-1999), remains largely unknown to this day. The second, American photographer Susan Meiselas (born 1948), is an icon of photojournalism and of the Magnum agency, of which she is president. In the late 1970s, she travelled to Nicaragua to document the two uprisings that led to the fall of the dictator Anastasio Somoza's regime. Some of the photographs she produced there quickly became a symbol of the Sandinista revolution. In 1981, she brought them together in a book that is now considered to be a model of the photographic essay genre. In this surprisingly film, the photographs from her publication are accompanied by a long letter written to the director, in which Susan Meiselas shares her thoughts on her relationship with this major historical event and on the ethics of photojournalism, as well as the role of the photographer, his contradictions and his responsibilities.

Photo: Street fighter, Managua, Nicaragua, 1979 © Susan Meiselas / Magnum Photos

What you will find in this film

Images that have become symbols of the Nicaraguan revolution • a detailed visual story of the Sandinista uprisings • a critical look at documentary photography • towards an ethic of photojournalism • a photographer torn between the role of messenger or participant

 I have pictures, they have a revolution.
I was always conscious when taking photographs that I was trespassing on someone else's territory and then leaving again. I always felt the need to establish a dialogue between the photographer and her subject, always trying to give something back of what I had taken. But in this situation, amidst the bombing, the dead bodies, and the grieving, there is no time to think of these questions.
We know now that photojournalism normalises what are specific, and very violent, experiences, and we have thought about the subject ad infinitum, feeling guilty about photographs of terror becoming mere spectacle.

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