There are many codes and conventions within the boundaries of documentary photography and photojournalism,they are in place in order to accurately represent the areas and the people and not culturally mimic and mis-inform an audience due to editing or framing causing mediation and unreliability to the images themselves.

1)representation; is showing the truth and reality and not portraying a misrepresentation of a scenario, this has such great importance in order to  promote the reality of a situation and not a tabloid setting, This in turn looses the impact and relevance of the image,and the trust and  believable aspect within the audience receiving the image from the photographer. Throughout my new stage of work I am going to be focusing upon photo journalism and surrealism.I have chosen this due to the interesting effects in which surrealism carries, how it possess underwired methods to portray my themes of secrets codes and conventions and how I am able to be much more expressive and carry many more unique character traits throughout my work.I am able to symbolize dynamic shapes and an interesting concept of human behavior in order to symbolize the combination of surrealistic and highly conceptual images to symbolize a feeling of secrecy and search for identity between people.However within photojournalism I could also capture a development of everyday people and a feeling their own story and within their family,I can  focus on how a group of people work together and how their behavior effects each other and the way in which they act as a whole community,so sharing the themes I am using in my surrealism shoots also carried throughout photojournalism.

This slow movie was Made by Deren with her husband, cinematographer Alexander Hammid, Meshes of the Afternoon established the independent avant-garde movement in film in the United States, which is known as the New American Cinema. It directly inspired early works by Kenneth Anger, Stan Brakhage, and other major experimental filmmakers. Beautifully shot by Hammid, a leading documentary filmmaker and cameraman in Europe (where he used the surname Hackenschmied) before he moved to New York, the film makes new and startling use of such standard cinematic devices as montage editing and matte shots.

Technical visual conceptual:

This short film was a non narrative piece and an exmaple of ‘trance film’ towards the end of the film there were continuous jump cuts with a birds eye view presenting a power over the protagonist women herself,furthermore theses cuts created a repetition in order to from the narrative moving from the end and back to the beginning of the narrative.in which a protagonist appears in a dreamlike state, and where the camera conveys his or her subjective focus.This was done in order to connote a sense of death and fear within the women symbolized through the black figure.The figure itself has an  interesting concept to it as it had a strong resemblance to that of a symbolic figure of death or the grim reaper which is attuned to her unconscious mind and caught in a web of dream events that spill over into reality.Additionally the mirror portrays a loss of identity and also a reflection of the women’s biggest fear being seen within herself,this also successful combines secrets codes and conventions as it reflects an act of behavior and a conventional secret she is hiding from herself and perhaps.Furthermore you can see the womens struggle and an atmophere of danger when she was coming up the stairs due ot the cameras wuick turning and editing in order to express an abrupt movement .Historically this film was made in the early 1940’s so at the time was innovative and a ispired many film makers with the advancement of editing and special effects,

There are also continuous  themes of surrealism which is an avant grade movement in art and literature and was created from the potential of unconscious mind, for example by the irrational juxtaposition of images. surrealistic cinema is a modernist approach and criticism,

Jersey War Tunnels

Hohlgangsanlage 8 (also known as the German Underground Hospital or the Jersey War Tunnels) was a partially completed underground hospital complex in St. Lawrence, Jersey, built by German occupying forces during the occupation of Jersey during World War II. After Hitler’s October 1941 order to fortify the Channel Islands, work began on a string of fortifications all around Jersey.  Ho8 was intended to be a vast network of underground tunnels that would allow the German occupying infantry to withstand Allied air raids and bombardment. Over 1 km  of tunnels were completed. After the liberation of the Channel Islands, the complex was converted into a museum detailing the occupation and remains a visitor attraction.

One tunnel made 6,000 years ago as part of a Neolithic ritual site, the other made 65 years ago to protect the German war machine from allied bombardment. It took nearly three and a half years to build, with the work being carried out by forced and slave labourers who were brought to the Island from all over Europe. It was originally intended to be a barracks and ammunition store for the occupying forces. Many of the workers were Polish, French, Russian or Republican Spaniards. Conditions were terrible, although Russian and Ukrainians were treated the worst, with cases of malnutrition, death by exhaustion and disease among them becoming common.

In late 1943, with the threat of an Allied invasion of Europe becoming clear, Ho8 was to be converted into a casualty clearing station and emergency hospital. The tunnels were blasted out with gunpowder and handtools, and then covered with concrete. The hospital was dug into a slope, so that it would drain naturally and had 500 beds for patients.

Despite the huge preparations and fortifications made to the Channel Islands, none were ever utilised. The occupying forces in the Channel Islands surrendered on 9 May 1945 (one day after the rest of the German forces surrendered). Ho8 fell into disuse, with British soldiers and souvenir hunters stripping the tunnels of equipment.

The War Tunnels tell the compelling story of life in Jersey under occupation and feature a series of  galleries looking at the diverse experiences of all those who live through it, whether Jersey, British or German

Source of pictures: www.jerseywartunnels.com

In 1940, news of the fall of France to German forces created a sudden crisis for Islanders, should they stay or go. Many men of military age had already left, and most of those whose families were not in Jersey felt the need to return to England. Others also decided it would be advisable to leave. Whole families had to rapidly prepare to walk away from house and home, leaving behind their happy life – and not imagining it would be for five long years.

“Queues for tickets stretched for long distances, and hurried arrangements for leaving were made. Choosing what to take was not easy, as only one suitcase each was allowed. We could only pack essential clothing, so my sister and I were dressed in extra layers of clothing, despite the warm weather. We were each allowed to choose just one book and one toy to take with us.”- Ann Bright (7 years old at the time)

In 1942, the German turned up at this time-crossing site and damaged it by digging an underground bunker, now transformed into a memorial dedicated to the thousands of men, women and children transported to the Channel Islands as forced workers during the second world war.

Memories inscribed on plaques are chilling: “I have never forgotten the sound that came out of the huts. When people are starving, the pitch of their voices rises. The sound was like lots of birds in an aviary.”