The Family Photography: A Critical Review of the Matthews Family Album as a Historical Representation - Essay Example

NAME: NUMBER: UNIT NAME: INSTRUCTOR: INSTITUTION: TOPIC: FAMILY PHOTOGRAPHY: A CRITICAL REVIEW OF THE MATTHEWS FAMILY ALBUM AS A HISTROICAL REPRESENTATION DATE: History, contrary to popular belief, is not just about reconstructing the past lives of a group of people or of prominent people but actually begins at the individual level where individual histories converge to form the wider history of a community or nation. Indeed, it is the histories of singular family units that are most poignant and that have the greatest emotional impact since they are very personal. By reconstructing the history of one family, we can then begin reconstructing the histories of the people and communities that surrounded that family. If every individual were to capture the histories of their own families, just imagine the sheer magnitude of historical representations that would be available to the world! Moreover, if the duty of preserving and reconstructing history is left solely to historians and the state, there is a grave danger that important aspects of history may be lost. As Matthews (2008: 1) aptly captures it, historically important resources and information are in the process of being lost throughout Australia and it is thus the duty of every national to ensure that they preserve their own family and community histories to prevent the total obliteration of history. A family album, though seeming simplistic and too domestic for a wider historical analysis, is very significant in framing the histories of individual family units and by extension the community they are or were a part of. According to Hirsch (1997: 53), a family album progresses covering various aspects of everyday life from birth, childhood, teenage hood to the adult world of love, higher education, marriage, careers, religion, funerals, parties, politics and so on. The family album does so almost effortlessly, without any conscientious effort unlike more standard historical representations by weaving through the various stages of life, accurately capturing the ups and downs of family life. As such, it is a powerful historical tool that encapsulates the cultural and social aspects of a particular era or time. That said there is a danger in attempting to exclusively use family albums as the only historical resource thus there is the dire need of balance and objectivity in its use. The role of the family album is to act as a supplement to existing historical representations and resources and not necessarily as the sole authoritarian version of the past. The family album that this discussion shall focus on as a historical representation was created by an individual, Kevin Matthews, the founding pastor of the Particular Baptist and Reformed Baptist 'Home Fellowship' online network (See: Directory of Photo Albums, 2008). It was created with very little input from state resources since most of the photographs were obtained from his relatives, particularly his uncles and aunts. The main medium used in this representation was a camera as well as the internet which was the crucial in its output As such, Kevin Matthews largely funded this representation from his own pocket. The beauty of technology is that individual persons now have the power and ability to reconstruct their history and genealogy without expensive funding and can subsequently share their history with people all around the world. Before Kevin Matthews’ grandfather Arthur John Matthews died, he had asked Kevin to construct a 'Matthews’s museum. Not having the capability to create an actual museum as per his grandfather’s wishes, he instead created a site dedicated to him and the family tree as a whole (Matthews, 2008:1). The result is an outstandingly comprehensive family album that traces his genealogy into the past and sheds some light into his personality and identity while also including historical information regarding Australia. A family album is crucial in preserving the history of an area that would have otherwise probably been forgotten and this is its most important function. The history of the 1989 Newcastle earthquake has, in a small way, been enriched through the images of this family album. It is well known that media depictions of historical events are not always accurate in capturing the actual mood on the ground and sometimes, the best images of tragedies are shot by the very people who went through the tragedy. This comes across with the Matthews family album where these shots of the aftermath of the earthquake may not have made it to mainstream media and by extension, the history books. With regards to other areas such as the history of the Lake Macquarie town of Booragul, the photos also add more knowledge concerning its earlier history. This family album is thus an important historical resource for Booragul. A building wrecked by the 1989 Newcastle earthquake as captured by Kevin Matthews. Picture courtesy of Flickr at http://www.flickr.com/photos/kevinmatthews/2437522375/in/set-72157604705262333/ Further to that, a family album shifts ones memories and recollections into the realm of imagination providing photographic form to our uses of family history as a playground for our constantly shifting identities (Langford, 2005: 90). Therefore, in terms of the selection of the photos in this historical representation, Kevin Matthews had free reign to choose whatever photos he liked without external intervention. In short, the family album gives our imagination free reign to create distortions of reality (Sayers, 2008: 1). As people grow older, their identities tend to shift according to newly acquired values and priorities. In the case of Kevin Matthews, there has been a significant shifting of identities, particularly with regards to religion. Following his conversion as a particular Baptist and the subsequent pastorate that ensued soon after, there must have been a drastic change in values and priorities which would then find their way into the album. This can be seen in the inclusion of photos of religious significance into the album which may not have been the case without this conversion. The Booral Anglican Church. Picture courtesy of Flickr http://www.flickr.com/photos/kevinmatthews/sets/72157605112133028/ The Newcastle Cathedral. Picture courtesy of Flickr at http://www.flickr.com/photos/kevinmatthews/2500399259/in/set-72157605111967208/ Arising from his religious convictions is a strong sense of patriotism and this is epitomized in the various photos of his kinfolk serving their country in the army. Hirsch (1997: 53) explains that the family album functions to immortalize and solemnalize the important high points in the family’s history. In this album, the photographs of the army medals depicted at great length belie the great pride the family had with regards to the family’s involvement in service as do the photos of Arthur Matthews (Kevin’s grandfather) depicting his years of service in the Middle East and Africa in the first half of the twentieth century. Also, in addition to solemnalizing these events, they also add great historical value by shedding more light into past wars and their participants in a more personal way that other historical representations may not do. The Transjordan Frontier Force of 1936 that Arthur Matthews was a part of. Picture courtesy of Flickr http://www.flickr.com/photos/kevinmatthews/2439932157/in/set-72157604723011653/ In addition to that, the habit of keeping albums is a sentimental exercise, integral to the very fabric of a family’s identity and individuality. Indeed, the importance of the album cannot be gainsaid as it functions as grease to the wheels of remembrance, constantly expanding the memories with the passage of time as the photos continue to be viewed from generation to generation (Langford, 2001: 201). Remembrance is necessary with regards to reflection and taking stock of our present lives in relation to our family’s past. In the case of the Matthews family album, there is a lot to reflect about and take stock on. Weaving through this album is akin to travelling backwards in a time machine with the past so eloquently frozen and captured through time though the often overlooked medium of photography. The viewer instantly recognizes that they are being taken on a journey through the history of Booragul through to Swan Bay in the eyes of the Matthews’ descendants- the Baggs, Blanch and Jenkinson family. Undoubtedly, this particular album is an amazing historical representation dating back to the seventeenth century revealing glimpses of life in Australia and England in that distant era. A resulting phenomenon of the humble family album is the so- called ‘Kodak culture’ whereby ordinary people are able to order their histories and past experiences into a coherent sequence of events giving life to the happenings of their past lives (Sayers, 2008: 1). In Kevin Matthews’s family, there is a marked sequence where the photos date back all the way to the history of Booragul all the way to Kevin’s present life. This sequencing is important in historical terms since a cohesive flow of representations makes it easier to understand how and when the events happened and in what order. This has been adequately encapsulated in Kevin Matthews’ family album where the photos are arranged in such a manner that the viewer can easily trace his family genealogy from the Baggs, Blanch and Jenkinson family’s to the current Matthews family. Moreover, the family album helps give recognition to the distant past. Magically, the images within the album are oftentimes the only things that are shared from one generation to the next signifying a connection of sorts whereby the past and the present are united through the photos. (West, 2001: 161). Kevin Matthews did not meet his great-grandparents of the Baggs’, Blanch and Jenkinson family yet the stories he was told about them were undoubtedly given life through the photos. It is easy to imagine a young Kevin sitting enraptured at his parents feet as they narrated the stories of his great- grandparents. Without an image, these stories would have been lifeless narratives that Kevin would have been unable to identify with but because he can associate an image with the name, there is a sense of connection and comfort. Even if he had not met them personally, he nevertheless feels a strong bond of kinship through the power of the photos in the album. In that regard, he feels like a true descendent of his great- grandparents where he can even decipher physical similarities between himself and his earlier kinsmen that he otherwise would not have been aware of. Kevin’s uncles Robert and Frederick who bear an uncanny resemblance to Kevin when he was at that age (See image below). Picture courtesy of Flickr at http://www.flickr.com/photos/kevinmatthews/2437742589/in/set-72157604707274221/ Kevin Matthews as a young boy. Picture courtesy of Flickr at http://www.flickr.com/photos/kevinmatthews/2442748592/in/set-72157604737194419/ Rediscovery of oneself is another function of the family album that can by no means be overlooked. Often times in life, the vagaries of everyday troubles and challenges tend to act as a distraction to our focus. When the challenges seem to overwhelm us, there is a tendency to forget who we are and the far we’ve come from. Yet, a quick look at our family album helps us too gain greater focus and realize the many times we have been faced with challenges yet somehow managed to overcome them. Bourdieu (1990: 13) reiterates this fact by explaining that each time there is a conflict or misunderstanding within the family, an easy solution to fray the raised tempers is to simply whip out the family album and the tempers will summarily dissipate. Family photos also have a way of re-assuring the individual family that all is well and that the family is cohesive even if the reality on the ground is very different (Sayers, 2008: 1). A psychoanalytical examination of this album may thus be important in showing the reality of a displaced childhood. Kevin’s mother was married thrice thus there had to have been a level of strife and disunity. The psychological impact of this on the children must have been immense. The absence of Kevin’s parents together in a photo shows the fragmented nature of the family. However, a first glance at the photos may not reveal this. Yet, one cannot help but imagine the impact of such a displaced childhood on Kevin’s child’s psychological development. Kevin with his father Brian Matthews. Picture courtesy of Flickr at http://www.flickr.com/photos/kevinmatthews/2442769562/in/set-72157604737194419/ Kevin (second right) with his mother (second left) and other relatives. Picture courtesy of Flickr at http://www.flickr.com/photos/kevinmatthews/2441940277/in/set-72157604737194419/ Photos of a Displaced Childhood? Kevin Matthews (left) with his step- brothers from his mothers second marriage to Robert Gardiner. http://www.flickr.com/photos/kevinmatthews/2438648810/in/set-72157604704185552/ Psychoanalytically, photos can be deceptive (Kim, 2005: 223). In the above photo, there are no signs of a displaced childhood whatsoever. The smiles are misleading as they fail to depict the underlying complexities of the relationship between brothers who had been plucked away from one life into another (most likely without heir approval and consent). This shows the deceptive nature of the family album as a smokescreen to the actual tensions and hostilities that characterize every family regardless of how loving and united it may be. Gradual isolation from relationships and other people may also be depicted in the photography of family albums. Apart from a displaced childhood, Kevin also survived a near fatal car crash and the psychological impact of this must have been great. As Kim (2005: 28) expounds, family albums serve as a critical prism through which one contemplates the effects of the past in present- day life. In the case of Kevin Matthews, there is the obvious impact of a displaced childhood on his life together with the accident. However, to what extent did such displacement and/ or his car accident impact on his adult life? While outwardly appearing to be happy and content, an observation of his personal photos reveals a form of isolation from the outside world and women in particular. Indeed, it is quite telling that despite being forty years of age, the photos do not reveal much about any romantic relationships he may have formed over the years or marriage which is unusual for a man of his age. Whereas the earlier photos of his parents, grandparents and great- grandparents all show weddings and loving scenes with their respective ones, Kevin’s own photos reveal nothing of the sort. The question that then begs to be asked is whether his displaced childhood put him off relationships for good and/ or whether he is afraid of committing the same mistakes his mother made. In addition, an analysis of his photos taken after his near fatal car accident may also serve as a way of delving into his psychology and whether his sense of isolation was deepened thereafter. Evidently, the possibilities a family album holds for the field of psychology are immense therefore greater effort should be put into its usage. Kevin Matthews in typical solitary fashion at Rocky Crossing. Picture courtesy of Flickr. http://www.flickr.com/photos/kevinmatthews/2441811525/in/set-72157604736612065/ Kevin Matthews after the near- fatal car crash. Picture courtesy of Flickr at http://www.flickr.com/photos/kevinmatthews/sets/72157604173065807/ In conclusion, the family album is a very important type of historical representation that all states should consider when reconstructing and preserving the history of a certain area. As the family album of Kevin Matthews has aptly illustrated, greater insight into the histories and cultures of eras gone by such as Newcastle and Booragul can be accomplished through the simple yet effective family album. Beyond that, family albums are invaluable to the fields of psychology because psychoanalytical examinations of photos provide greater insights into human nature and psychology. Governments therefore should invest more resources and energy in acquiring and preserving family albums for the greater good of the reconstruction of their nations’ history. In this way, they shall have provided a priceless historical heritage; not only to present generations but more crucially to the coming generations. REFERENCES Bourdieu, Pierre et. al. 1990. Photography: A Middle-Brow Art. Stanford University Press: California. Accessed on 13th June, 2009 from http://books.google.co.ke/books?id=Lsy-Kd_BmgwC&printsec=frontcover&dq=bourdieu+photography&client=firefox-a#PPA13,M1 Directory of Photo Albums. 2008. Kevin's Family - Online History Site: An Australian Genealogy and History Site. Accessed on 13th June, 2009 from http://particularbaptist.com/matthewshistory/photos/photos.html Hirsch, Marianne. 1997. Family Frames. Harvard University Press: Massachusetts. Accessed on 13th June, 2009 from http://books.google.co.ke/books?id=IRt3E0nfuo4C&pg=PA279&dq=julia+hirsch+family+photographs:content+meaning+and+effect+1981&client=firefox-a#PPA53,M1 Kim, Yeon-Soo. 2005. The family album. Bucknell University Press: New Jersey. Accessed on 13th June, 2009 from http://books.google.co.ke/books?id=JpBu9fvYYzcC&pg=PA28&lpg=PA28&dq=THE+ROLE+OF+FAMILY+ALBUMS+IN+HISTORY&source=bl&ots=RYUqehhFLD&sig=D2d3WNSTWStvU1KePmJQ9cck7Ug&hl=en&ei=fQMxSr0XhZP9Boqm0O8F&sa=X&oi=book_result&ct=result&resnum=2#PPA28,M1 Langford, Martha. 2005. Image & Imagination. McGill-Queen's Press: Quebec. Accessed on 13th June, 2009 from http://books.google.co.ke/books?id=yZfltI5Q18kC&printsec=frontcover&client=firefox-a#PPA90,M1 Langford, Martha. 2001. Suspended Conversations. McGill-Queen's Press: Quebec. Accessed on 13th June, 2009 from http://books.google.co.ke/books?id=8a1UBV1RWFkC&pg=PP4&dq=martha+langford+2001&client=firefox-a#PPA201,M1 Matthews, Kevin. 2008. The History of the Lilley and Matthews Families. Accessed on 13th June, 2009 from http://particularbaptist.com/matthewshistory/familyhistory_2008_05.pdf Sayers, Janet. 2008. The role of family photograph albums in organizing New Zealand identities. Accessed on 13th June, 2009 from http://74.125.47.132/search?q=cache:jLX18SgXl5YJ:www.massey.ac.nz/~cprichar/OIL/OIL%25204%2520final%2520papers/Sayers_oil_2008%2520final.pdf+Family+photograph+albums+present+and+organise+memories.+Memories,+according+to+Kracauer+are+characterised+by+%E2%80%98demonic+ambiguity%E2%80%99+%281993%29:+memories+in+themselves+are+not+at+all+organised.&cd=1&hl=en&ct=clnk&gl=ke&client=firefox-a West, Nancy Martha. 2000. Kodak and the lens of nostalgia. University of Virginia Press: Virginia. Accessed on 13th June, 2009 from http://books.google.co.ke/books?id=Nuae4VHlyrYC&printsec=copyright&client=firefox-a#PPA161,M1 Read More