纪录片之争:《变化中的纽约》原稿,作者:贝伦尼斯·阿博特和伊丽莎白·麦考斯兰

IF 0.3 2区 艺术学 0 ART History of Photography Pub Date : 2021-01-02 DOI:10.1080/03087298.2021.1997200
Michel Hardy-Vallée
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In reproducing most of the relevant primary evidence of this process alongside a perceptive study of the core ideas animating Abbott and McCausland at that time, Sarah M. Miller facilitates a fuller understanding of what Changing New York could have been and its role in the construction of documentary photography in the USA. A contributed essay by Julia Van Haaften and Gary Van Zante also gives an overview of Abbott’s archival habits and the afterlife of her massive trove of materials, as well as insights into the dynamics of her working partnership with McCausland. As a whole, Documentary in Dispute pays remarkable and detailed attention to the tensions that changed Changing New York, but it is debatable whether it delivers ‘the original manuscript’, and to what extent such a term applies to the present case. Upon returning to the USA in 1929 after eight years in Paris, Berenice Abbott reoriented her photographic practice from portraiture to portraying the urban landscape of New York. Skyscrapers sprouting as if overnight and the upheavals of the Great Depression were profoundly affecting the built and lived space of the city. Her 1934 solo exhibition at the Museum of the City of New York showed the originality of her approach inspired by both social sciences and surrealism, which caught the eye of art critic Elizabeth McCausland. When Abbott was granted support from the Federal Arts Project of the Works Progress Administration, she was able to put all her energies into her ‘Changing New York’ project and hire assistants to produce her photographic survey of change, transformation and juxtaposition in the urban environment. A second exhibition at the Museum of the City of New York in 1937 and the approaching 1939 World’s Fair convinced E. P. Dutton to contract with the Works Progress Administration to publish photographs from Abbott’s project. Although she had initially planned to publish her Works Progress Administration photographs alongside older ones, Abbott was restricted to the ‘Changing New York’ corpus, but she was now able to hire McCausland to write the captions. Together, they prepared a first proposal for the book that included a twenty-three-page mock-up of the layout inspired by cinema and modernist design. After Dutton’s rejection, they agreed on a more conventional book concept and delivered a set of one hundred photographs accompanied by individual captions, leaving the sequencing to the publisher. This set is what Miller defines as ‘the original manuscript’. However, Dutton further objected to the nature of McCausland’s captions, which combined pedagogical statements on photographic depiction with interpretive descriptions of the places and buildings shown. Grudgingly, McCausland rewrote her captions in a more neutered style, while the publisher replaced eleven photographs. This ‘intermediary manuscript’ was once more rejected and the captions were entirely rewritten by Abbott’s research staff. Still unsatisfied with the text, Dutton produced the dry and descriptive final captions. The publisher’s chosen sequencing followed the conventional downtown–uptown axis of the city and removed three photographs it deemed controversial (an African American church in Harlem, a wrapped statue of Irish American Catholic priest Father Duffy and a ragged brick wall). Published in time for the World’s Fair, the book laid out on facing pages the captions and the photographs, rotating some images to display all of them in the same orientation, against Abbot’s wishes. The book sold well. 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Her 1934 solo exhibition at the Museum of the City of New York showed the originality of her approach inspired by both social sciences and surrealism, which caught the eye of art critic Elizabeth McCausland. When Abbott was granted support from the Federal Arts Project of the Works Progress Administration, she was able to put all her energies into her ‘Changing New York’ project and hire assistants to produce her photographic survey of change, transformation and juxtaposition in the urban environment. A second exhibition at the Museum of the City of New York in 1937 and the approaching 1939 World’s Fair convinced E. P. Dutton to contract with the Works Progress Administration to publish photographs from Abbott’s project. Although she had initially planned to publish her Works Progress Administration photographs alongside older ones, Abbott was restricted to the ‘Changing New York’ corpus, but she was now able to hire McCausland to write the captions. Together, they prepared a first proposal for the book that included a twenty-three-page mock-up of the layout inspired by cinema and modernist design. After Dutton’s rejection, they agreed on a more conventional book concept and delivered a set of one hundred photographs accompanied by individual captions, leaving the sequencing to the publisher. This set is what Miller defines as ‘the original manuscript’. However, Dutton further objected to the nature of McCausland’s captions, which combined pedagogical statements on photographic depiction with interpretive descriptions of the places and buildings shown. Grudgingly, McCausland rewrote her captions in a more neutered style, while the publisher replaced eleven photographs. This ‘intermediary manuscript’ was once more rejected and the captions were entirely rewritten by Abbott’s research staff. Still unsatisfied with the text, Dutton produced the dry and descriptive final captions. The publisher’s chosen sequencing followed the conventional downtown–uptown axis of the city and removed three photographs it deemed controversial (an African American church in Harlem, a wrapped statue of Irish American Catholic priest Father Duffy and a ragged brick wall). Published in time for the World’s Fair, the book laid out on facing pages the captions and the photographs, rotating some images to display all of them in the same orientation, against Abbot’s wishes. The book sold well. 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引用次数: 0

摘要

尽管1939年出版的摄影书《改变纽约》在评论界获得了广泛的成功,但长期以来,人们一直认为,由于出版商E.P.Dutton的迫切需要,这本书损害了摄影师Berenice Abbott和作家Elizabeth McCausland的意图。这本书最初由这对作家夫妇构思,是一本关于这座快速转型的大都市的正式创新和视觉上引人注目的文本和图像挂毯,最终卖给了纽约世界博览会的游客,最终成为了一本更传统的城市指南。Abbott选择的照片,尽管有一些删减,但在编辑过程中比McCausland的文字说明保存得更好,后者被出版商改写得面目全非,她的名字被放在了封面内。Sarah M.Miller再现了这一过程的大部分相关初步证据,并对当时活跃在Abbott和McCausland身上的核心思想进行了深入的研究,这有助于更全面地理解《改变的纽约》可能是什么,以及它在美国纪实摄影建设中的作用。Julia Van Haaften和Gary Van Zante的一篇投稿文章还概述了Abbott的档案习惯和她大量材料的来生,以及她与McCausland合作的动态。总的来说,《争议中的纪录片》对改变《改变的纽约》的紧张局势给予了显著而详细的关注,但它是否提供了“原稿”,以及这个术语在多大程度上适用于本案,仍存在争议。在巴黎呆了八年后,贝雷尼斯·阿博特于1929年回到美国,她将自己的摄影实践从肖像画重新定位为描绘纽约的城市景观。摩天大楼仿佛在一夜之间萌芽,大萧条的动荡正在深刻影响着这座城市的建筑和生活空间。她1934年在纽约市博物馆的个展展示了她受社会科学和超现实主义启发的方法的独创性,这引起了艺术评论家伊丽莎白·麦考斯兰的注意。当Abbott获得工程进度管理局联邦艺术项目的支持时,她能够将所有的精力投入到她的“改变纽约”项目中,并聘请助理对城市环境中的变化、转变和并置进行摄影调查。1937年在纽约市博物馆举行的第二次展览和即将到来的1939年世界博览会说服了E.P.Dutton与工程进度管理局签订合同,出版Abbott项目的照片。尽管Abbott最初计划将她的作品进度管理局照片与旧照片一起发布,但她被限制在“不断变化的纽约”语料库中,但她现在可以聘请McCausland来撰写标题。他们一起为这本书准备了第一份提案,其中包括一个23页的布局模型,灵感来自电影和现代主义设计。在达顿拒绝后,他们同意了一个更传统的图书概念,并提供了一套100张照片,并附有单独的说明,将顺序留给出版商。这一套就是米勒所定义的“原稿”。然而,Dutton进一步反对McCausland字幕的性质,该字幕将对摄影描绘的教学陈述与对所示地点和建筑的解释性描述相结合。令人沮丧的是,麦考斯兰以一种更中性的风格改写了她的字幕,而出版商则替换了11张照片。这份“中间手稿”再次被拒绝,文字说明完全由雅培的研究人员改写。达顿仍然对文本不满意,他制作了枯燥而描述性的最后字幕。出版商选择的顺序遵循了城市的传统市中心-上城轴线,并删除了三张它认为有争议的照片(哈莱姆区的一座非裔美国人教堂、一座爱尔兰裔美国天主教神父达菲的包裹雕像和一堵破旧的砖墙)。这本书是在世界博览会期间出版的,在对开的页面上布置了标题和照片,并旋转了一些图像,以同一方向显示所有图像,这违背了Abbot的意愿。这本书卖得很好。它受到了好评,并有助于证明印刷全套305篇“不断变化的纽约”评论的合理性
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Documentary in Dispute: The Original Manuscript of Changing New York by Berenice Abbott and Elizabeth McCausland
Despite its popular and critical success, the photographic book Changing New York as it appeared in 1939 has long been known to have compromised the intentions of photographer Berenice Abbott and writer Elizabeth McCausland because of the imperatives of the publisher, E. P. Dutton. First conceived by the authorial couple as a formally innovative and visually arresting tapestry of text and image about the rapidly transforming metropolis, the volume ultimately sold to the visitors of the New York World’s Fair ended up as a much more conventional guidebook to the city. Abbott’s selection of photographs, despite a number of cuts, survived the editorial process better than did McCausland’s captions, which were rewritten beyond recognition by the publisher, her name relegated to the inside cover. In reproducing most of the relevant primary evidence of this process alongside a perceptive study of the core ideas animating Abbott and McCausland at that time, Sarah M. Miller facilitates a fuller understanding of what Changing New York could have been and its role in the construction of documentary photography in the USA. A contributed essay by Julia Van Haaften and Gary Van Zante also gives an overview of Abbott’s archival habits and the afterlife of her massive trove of materials, as well as insights into the dynamics of her working partnership with McCausland. As a whole, Documentary in Dispute pays remarkable and detailed attention to the tensions that changed Changing New York, but it is debatable whether it delivers ‘the original manuscript’, and to what extent such a term applies to the present case. Upon returning to the USA in 1929 after eight years in Paris, Berenice Abbott reoriented her photographic practice from portraiture to portraying the urban landscape of New York. Skyscrapers sprouting as if overnight and the upheavals of the Great Depression were profoundly affecting the built and lived space of the city. Her 1934 solo exhibition at the Museum of the City of New York showed the originality of her approach inspired by both social sciences and surrealism, which caught the eye of art critic Elizabeth McCausland. When Abbott was granted support from the Federal Arts Project of the Works Progress Administration, she was able to put all her energies into her ‘Changing New York’ project and hire assistants to produce her photographic survey of change, transformation and juxtaposition in the urban environment. A second exhibition at the Museum of the City of New York in 1937 and the approaching 1939 World’s Fair convinced E. P. Dutton to contract with the Works Progress Administration to publish photographs from Abbott’s project. Although she had initially planned to publish her Works Progress Administration photographs alongside older ones, Abbott was restricted to the ‘Changing New York’ corpus, but she was now able to hire McCausland to write the captions. Together, they prepared a first proposal for the book that included a twenty-three-page mock-up of the layout inspired by cinema and modernist design. After Dutton’s rejection, they agreed on a more conventional book concept and delivered a set of one hundred photographs accompanied by individual captions, leaving the sequencing to the publisher. This set is what Miller defines as ‘the original manuscript’. However, Dutton further objected to the nature of McCausland’s captions, which combined pedagogical statements on photographic depiction with interpretive descriptions of the places and buildings shown. Grudgingly, McCausland rewrote her captions in a more neutered style, while the publisher replaced eleven photographs. This ‘intermediary manuscript’ was once more rejected and the captions were entirely rewritten by Abbott’s research staff. Still unsatisfied with the text, Dutton produced the dry and descriptive final captions. The publisher’s chosen sequencing followed the conventional downtown–uptown axis of the city and removed three photographs it deemed controversial (an African American church in Harlem, a wrapped statue of Irish American Catholic priest Father Duffy and a ragged brick wall). Published in time for the World’s Fair, the book laid out on facing pages the captions and the photographs, rotating some images to display all of them in the same orientation, against Abbot’s wishes. The book sold well. It was favourably received and helped justify the printing of a full set of the 305 ‘Changing New York’ Reviews
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
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