Abstract

What are the preferred subjects of mass photography? We will not go far wrong if we hazard this reply: the Self and the Other. The popular practice of photography does not much go in for nuance: it has taken as its watchword the distinction between gens de Soi and gens de l'Autre which Robert Jaulin once used as the title of one of his books on ethnology. The self, that is, one's own, those close to one, familial space and the familiar space of identity and recognition. The other, in other words, strangers, the space of distant parts, and the space of displacement where tourism increasingly frequently leads the inhabitants of richer countries. Here, in the first space, one is among one's own kind, “among ourselves”, part of the same family through kinship or part of the same community through lifestyle and nationality; here, connivance rules, the unspoken word and the wink with the photographer who is “one of us”, and so one does not generally hesitate to expose oneself, that is, open up to their lens. There, in the second space, one is in a foreign country, amongst others, whose costumes and customs are photographed; there, the more polite rule of the smile and the presentation of the self for others holds sway, one is more engaged in the process of representation and adopts a pose for the photographer rather than exposing oneself to their lens. The most widely disseminated version of this dual polarity of popular photography is the souvenir photos of the family album, on the one hand, and the holiday photos brought back by tourists from their various excursions abroad, on the other; a version which illustrates one of the most spontaneously practised photographic montages, consisting of having oneself photographed in a distant country against a typical scenic background or emblematic monument of the country visited.