PAOLA PAREDES MELANCHOLIA OF VIRGINS
This image is from Paola Paredes body of work ‘Melancholia of Virgins’, a selection of experimental pieces raising awareness of the humiliation of misdiagnosed women in Salpêtrière Hospital Paris for ‘Hysteria’ during the 19th century – a time when medicine subjected women to abhorrent treatment. The term ‘Hysteria’ is now recognized as a diagnosis stemming from pseudo-science, intrinsically linked to misogyny and man’s dominance. These ‘Hysteric’ women were put on display for audiences consisting of medical contemporaries, students and members of the public. One front-runner in Hysteria science was Jean-Martin Charcot he was charged with Hysteria treatment at the Salpêtrière Hospital in Paris, where he would use his camera as a tool for recording patient’s attack symptoms for later analysis. These pictures were then published and used as ‘evidence’. Paola Paredes then took these images and redeveloped them with the use of modern technology, stitching and handmade collages to produce animations and to magnify the humility and penalization that the institution forced on these women.
Conventionally speaking, the quality of the picture is poor due to the age of the photograph, with no depth in contrast, or wide spectrum of shades and
the noise that the camera has picked up in the darker tones of the image. However if you look at the image conceptually the poor quality of the image carries connotations of poor quality of life, respect and empathy for these women, which gives more depth to the context of the image. The rework of the image encourages viewers to to look at the image in a different way and interpret feelings and emotions throughout the whole of the frame, as the subjects face is completely covered making it impossible to read her emotions, so therefore applying an interpreted context to the image. The rework and manipulation of the image grasps the viewers attention on the feeling of being watched and recorded, being subjected to humiliation and being stripped of dignity.
This image is one of her still images which contrasts the effect of one of Paredes’ moving images where there is a sense of input of intensified emotion. However each of her still images convey the feeling of a forced or submissive silence. The use of the string covering the face and hiding the identity of this woman reinforces the idea of that these women were dehumanized, silenced and belittled. This simple technique unveils more about the context of this picture than if it was left untouched or the subject’s face was left on show. However, my interpretation of the reason why Paredes decided to cover her face is the possible referencing of the automatic invalidation of their opinions and dismissal of their freedom of choice and speech because of a ‘higher’ or ‘stronger’ force – in this pictures case the flash of the camera is the force acting against these imprisoned women, which could be interpreted as the misogynistic men that took advantage of them.
Photo Shoot – I want to experiment with Paola Paredes experimental approach to redevelop old images and give them new meanings and context to provide a thought provoking piece that encourages an audience to interpret an image with my political message. I want to take the idea from Paola Paredes of reworking, experimenting and manipulating existing images, carrying on the theme of my political landscape topic; the agriculture industry and its effect on climate change, being responisble for destruction of land and the mass usage of limited resources that don’t have enough value to raise concern like water and again, land.
After the shoot was complete I decided to select the ten images I thought best reflected the intentions of the shoot both visually and implicitly. By doing this it would allow me to deduct other images that I thought didn’t portray the aim of the shoot correctly or were poorly taken, here are my choices:
I selected this image because of how I loved the positioning of the paint cans, this look of just the bottles careless thrown into the bin scattering paint everywhere creates an unusual background of random colours. I also really liked how the higher exposure allowed for a dark border across the bottom of the image, creating the impression of the unknown due to there being no evidence for how far these material stretch. The focal point seems to be the center paint can which is clearly defined from the backdrop by the shadows surrounding it producing an abstract effect from the area around it. 
What I liked about this image was the clear contrast and separation of rubbish and everyday life working in the area. This contrast seen through the separation of the electronics and a construction worker show evidence of how the area has adapted to suit their life around the product of consumerism. The sheer mass of the electronics almost overflowing out of their section creates the impression of disorganization, where once used they are careless thrown to the side never to be seen again. Looking at this image it is clear how much space is required to hold the waste, especially after seeing how far into the hangar it stretches. 
I found that the emptiness of this image was what attracted me to it, alongside the vivid colours which accompany it. The use of a singular chemical bottle on the shelf with the over half of the container sprayed with unknown chemicals provides a messy and unorganized look, where obviously dangerous liquids have been disposed of incorrectly, whilst the bareness of the shelf allowing an insight into how little we attempt to throw away these harmful materials. By the sign being there I feel like it breaks up the otherwise overpowering image which would otherwise be dominated by red. 
This image was chosen because of how effective it is at providing evidence towards the sheer mass of things we throw out. Accompanied by the symmetry, the random electronics thrown into a pile can be seen as an almost abstract piece in itself, which various vivid colours breaking through the dull dark grays and blacks. For me this provides a huge insight into how we treat our ever-increasing consumerism, and how once used it’s simply discarded to be lost in the endless heap of other categorized objects. 
Finally I selected this image because of its contrast between the yellow mirror and the now dirty and broken glass window. I thought that this looked very symbolic, with the new mirror that had just been thrown away providing a clear contrast between that of an old broken window, that had obviously been thrown out a while ago and had deteriorated to an almost unrecognizable image of its former use. This contrast is defined through the use of the shadow which separates each piece of glass, stopping the other into blending with it and becoming eye sore.
Once I had reviewed a few of his works I decided to go on and analyse one of his photos, by doing this it would allow me to understand what made his photography so effective. Whilst giving me an insight into the techniques and focuses of the style of photography he uses, and the thought process behind it. The image I have chosen is called ‘99 Cent’, taken 1999 of a local convenience store: 
Visual: Visually this image is extremely aesthetic, with the broad variety of colours present in the shop providing a sea of rainbows to be looked upon by the viewer. This is stopped from being too consistent and overpowering through the use of obvious shelves which stops the packaging from merging with the next, the white poles which pop up occasionally also add to this through their symmetrical layout across the shop, providing clear coordination in the piece and an unseen structure in the shops structure. I love how the packaging of the food is countered by the texture of the ceiling, which seems to almost reflect the colours of the below, fading into the distance as if its never ending.
Contextual: Taken during the beginning of the Spanish Civil War, showing the moment of a bullet’s impact on a loyalist soldier, Capa’s photograph has become the emblem for the medium’s unrivaled capacity to depict sudden death. The style of photojournalism became the mark that defined Capa’s work from there on, joining the company Magnum Photos in the late 1940s. The photo itself appear to capture a Republican soldier at the moment of death, the soldier is seen collapsing backward after being picked off from a distance by a sniper. The pictured solider is dressed in civilian clothing but wears a cartridge belt, and following its publication was acclaimed as one of the greatest photos ever taken. However since the 1970s there has been significant doubts about its authenticity due to its location, the identity of its subjects, and the discovery of staged photographs taken at the same time and place.
