Cinema is one of the least accessible forms of art. It demands a certain amount of financial investment into equipment for filming, lightning and sound, people like actors, assistants and editors – not to mention time. Nevertheless our digital world has opened new doors for visual storytelling through the democratisation and affordability of tools necessary for filmmaking [1].

Inhabitants of excluded spaces – those living outside the ‘formal’ city – are able to use the tools of the digital age, from mobile phones and affordable recording equipment, to online platforms for funding and distributing films, to tell their own stories about the cities they live and experience. Informal settlements are part of the landscape in many cities in the Global South, where for some social exclusion, discrimination, drugs and violence are part of everyday life [2].

Mainstream cinema has picked up these themes through films like El Elefante Blanco, Tropa de Elite and recently Trash. These films have been supported by formal studios and were able to find distribution channels into mainstream cinemas.

However there are directors living in informal settlements who have created fictional depictions of life, while adopting a more realistic approach with its basis in the world within which they live. The interesting link lies more between the cinematic representations of the city than with the story. The mise-en-scène and the urban space not only imply a cinematic setting, but also indicate sociocultural context.

The realistic mise-en-scène of these very low-budget films does not illustrate absolute authenticity but is rather the filmmaker’s articulation of their reality [3]. It is an invitation for the “outsiders” – people living in the formal sector – to understand where these dwellers live and what their perceptions of reality are.

These types of films – similar to post-war Italian neorealist cinema [4] – privilege shooting on location and adopt a style of cinematography visually similar to a documentary. The example of Cesar Gonzalez, an Argentine film director living in the informal settlement Carlos Gardel in Buenos Aires province, is relevant.

His films are a testimony to the power of art as a tool for social recognition and integration. Cesar Gonzalez found a voice in cinema that he didn’t have before when he was involved with gangs and smugglers. He directed his first film Diagnóstico Esperanza in 2013 which was filmed with the local people from the informal settlement Carlos Gardel (the film is available to watch on YouTube).

The film depicts life in a space within the city that has its own vocabulary, its own vision of the world, its own soul. As “outsiders” we walk in the streets of this unfamiliar world. His films progressed a wider social acknowledgement among intellectuals and movie critics of informal settlements not just being seen as excluded spaces, but also replete with excluded people.

His latest film “What can a body endure?” (Qué puede un cuerpo?) was made possible by crowd-sourcing funds and then released online via Youtube. It has currently more than 200,000 views. His two films so far have gained critical praise and have been screened in a very prestigious local cinema in Buenos Aires [5]. The National Institute of Cinema and Audiovisual Arts (INCAA) is currently funding his third film.

Cinema has been historically involved with political contexts, helping to contribute to a collective perception of reality, and reflecting the state of society at that time. As the example of Cesar Gonzalez has shown, not only can films become a vehicle for telling a story in an artistic way but also as a tool for social recognition and integration – breaking down some of the physical barriers that seem to divide the city.

References

• [1] Thomson, David (2013) The big screen: the story of the movies and what they did to us. Penguin Books, London.
• [2] Amadeo, Eduardo (2011) País rico, país pobre. Editorial Sudamericana. Buenos Aires.
• [3] Zhan, Zhen (2007) The urban generation: Chinese cinema and society at the turn of of the twenty first century. Duke University Press.
• [4] Film Reference blog, Historical origins of Italian neorealism.
• [5] Diario Clarín, 15/01/15, Los ojos abiertos del Nuevo cine villero.

Marco Trombetta holds an MSc in Environment and Sustainable Development from the DPU. He was involved in local politics in Argentina, participating in several NGOs and international forums such as the G20. He has a passion for Cinema and he writes film reviews in his blog Red Curtain Cinema.

‘No matter how familiar the object or situation may be, a photograph is a restatement of reality; it presents life around us in new, objective, and arresting dimensions, and can stimulate the information to discuss the world about him as if observing it for the first time’  – Collier, 1957: 859 [1]

The use of visual methodologies has been introduced to help expand the efforts of data generation beyond more established avenues such as language-based interviews. Photo-elicitation, specifically participant-driven photography, can capture life experiences, spaces and emotions that may be difficult to grasp through other methodologies.

Although not considered a miracle cure, it is thought to have particular qualities such as:

1. Producing different type of information – many times more precise and vivid than other techniques
2. As a primary ‘language’ – it can be used with people of different ages and with different levels of oral or written language
3. Addressing concerns of power relations between researcher and subject, as well as knowledge production.

Participatory Photography Research Workshop

As part of my PhD fieldwork I have been using participatory photography to explore the meaning of home for residents in informal settlements in Viña del Mar, Chile. Particularly in discussing home-making practices, home aspirations and housing policy. In practice, the workshop develops across 6 sessions, in which participants learn basic photography skills and take cameras home to capture images for the next session.

The workshop starts with an introduction to photography, discussing the different uses, participants’ personal relationship with pictures and basic skills such as how to operate the camera, framing, colour and the use of light.

In an introductory activity Luis chooses a picture of a colonial building in a magazine, he says: ‘I chose this picture because I like architecture, looking at old buildings, pictures help maintain them even if there are not there any more’

Participants practicing how to frame a picture, taking into consideration what to include and what to leave out of the photo

The first assignment refers to images that represent their home. It was important for the data collection that participants felt free to take any picture they wanted – without been concerned of getting the ‘right answer’.

Some of the pictures taken by participants (Francisco Ahumada, Katerine Montecinos and Mariela Aravena); (top-left) privacy of a single room, (top-right) community centre which was constructed recently by the residents, (bottom-left) house and the dogs as part of the family and (bottom-right) nature, not only their own plants but the surrounding environment

A girl looks at her printed pictures for the first time. Participants were impressed with the results, stating that is was not the same as seeing them on the screen.

After revising the pictures individually, the group puts together all the pictures and divides them into categories of what represents home

The second and last assignment was to take pictures of elements that they like and do not like about a house. Participants were encouraged to look for these elements not only in their house, but also in the neighbourhood and city.

Participants practise taking the types of pictures they would like to use for the assignment

The pictures from the second assignment were rich in content and included much more elements from the city than the first assignment. Many of them took pictures while they were going to work and in the streets.

Elucidating Everyday Aspirations

Some of the results of the second task are shown in this image (above). These were taken by Nayaret Gajardo, a woman living in the settlement. She took five pictures of elements she would like for her house such as a better kitchen, a big backyard, water tap for the settlement in case of fire, and connection to services. The three elements she does not like refer to the way she is currently connected to services, which she evaluates as dangerous and a poor quality of life.

In brief, the participatory photography workshops facilitated discussion on some elements which could be easily disregarded using other techniques. It has shed light on everyday life, the personal, the collective and the political. The concept of home portrayed is wide and diverse, it does not only refers to the home space but also to multiple places, people and feelings. The challenge now is to do a rigorous analysis moving from images to findings, so that pictures serve not just a nice visual complement for the research but as solid data for the study.

 Notes:

[1] Collier J. Jr. (1957), Photography in anthropology: a report on two experiments. American Anthropologist, New Series, 59 (5), 843-859.

Ignacia Ossul Vermehren is a PhD candidate at The Bartlett Development Planning Unit. She previous studied the MSc Social Development Practice at the DPU. She worked for 4 years at Techo, a youth-led organisation that works in informal settlements where she was Director of the office in the region of Valparaiso. Ignacia is currently undertaking her PhD fieldwork in Chile.