My group and I was shown a famous photo of the Migrant Mother by Dorothea Lange connoting social realism. This photo shares similarities with my film trailer storyline that features a migrant mother and baby. Although our storyline is set in modern day (2015, 21st Century), the key emotion portrayed in the Migrant Mother of worry to keep her child(ren) safe and healthy, the desperate need for sanctuary (in the form of a passport to become a citizen in my film trailer) and well-being restored. For Robert Hariman and John Louis Lucaites, the Migrant Mother is also overwhelmingly a photograph about class, and one that evokes not just sympathy but compassion, an impulse to help that crosses social boundaries. The powerful depiction of class difference, also shown in my film trailer between the desperate working class migrants and middle class wealthy Sydney, becomes most obvious when the photograph (or character) is contrasted with other visual images (or another character), influencing empathy amongst the audience.
Another scene in my film trailer that conveys an absent father (and husband) is when Chris is holding a gun up to the migrant mothers head, portraying a sense of loneliness and threat. For Robert Hariman and John Louis Lucaites, the “Migrant Mother” is a single, vivid image, and also a complex representation that draws together the reformist tradition of documentary photography, the pictorial conventions of religious iconography, and the interpellation of the public audience in the place of an absent father. The image provides a powerful pattern of definition that then can be transposed to other times, social locales, and issues, that are still relevant today.
Below is a photo of myself, I play the Female Migrant.
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