Abstract
Since the 1990s, globalization has influenced the emergence of new documentary approaches, termed “contemporary,” which address various social realities and changes. While some works maintain the traditional realistic aesthetic of documentary photography, others experiment with new forms that blur the line between image and reality. This thesis examines the similarities between French and Chinese documentary photography, highlighting how individual artists reflect their personal experiences within their national contexts while also interpreting shared themes. The research focuses on the development process of these works, rather than just their final forms, and emphasizes the artists’ biographies. It analyzes three French and three Chinese artists, exploring photographic works created between 1990 and 2010, each showcasing distinct writing techniques and aesthetic qualities. Key factors such as documentary awareness and the influence of political, cultural, and social contexts are identified, alongside the role of time in shaping perceptions of fiction and reality. Ultimately, this study elaborates on the concept of testimony, offering insights into how constructed realities in documentary photography can lead to a deeper understanding of the genre, particularly in works that transcend traditional documentary boundaries.
Presenters
Charlotte JeanningrosWorkshop Assistant, Exhibition Setup and Fabrication, ENSA Dijon, Côte-d'Or, France
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
2025 Special Focus—From Democratic Aesthetics to Digital Culture
KEYWORDS
GLOBALIZATION, PERSONAL EXPERIENCES, FRENCH, CHINESE, DOCUMENTARY PHOTOGRAPHY, CONSTRUCTED REALITIES
