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Photo-textsContemporary French Writing of the Photographic Image$
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Andrew Stafford

Print publication date: 2010

Print ISBN-13: 9781846310522

Published to Liverpool Scholarship Online: June 2013

DOI: 10.5949/UPO9781846316128

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Distance and Self in Raymond Depardon's Errance

Distance and Self in Raymond Depardon's Errance

Chapter:
(p.84) Chapter 4 Distance and Self in Raymond Depardon's Errance
Source:
Photo-texts
Publisher:
Liverpool University Press
DOI:10.5949/liverpool/9781846310522.003.0005

This chapter examines the self-collaborative type of photo-text. Analysis of the text in which photographers ‘write’ their own photographic images would, on the surface, appear straightforward. However, Raymond Depardon's Errance (2000), an example of self-collaborative photo-text, presents several challenges. It is an impressive photo-essay that dramatises and works through a critique of the profession which made Depardon a famous photo-journalist in France during the 1970s. As with all photo-texts, analysing essayism is tantamount to killing it. The chapter considers why and how Depardon reorders, revalorises, and reinvigorates his images in Errance, and whether the photo-essayist's wager – that of adeptly attaching his written text to a set of ‘failed’ travel photographs, in order to come up with a powerful photo-text – is the main point of this work. It also discusses the notions of distance and self in Errance, along with its politics.

Keywords:   Raymond Depardon, Errance, photo-texts, photographic images, essayism, photo-essay, photographs, distance, self, politics

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