Eun Hye Jang / reaction

201104213 Eun Hye Jang    There is a saying, "There is much more than meets the eye." Especially, when we see a photograph, we are likely to miss some things since we tend to interpret it without thinking. Here are two photographs which deal with the same subjects, children. On the outside, we may notice only the difference of mood between the two photographs. However, we may find something more as long as we pay more attention to them.    In a photograph called "Village School" taken by Margaret Bourke-White, we see children sitting on wooden benches set in rows in a classroom. It seems that the children are controlled by someone who does not appear in the photograph because most of the children display straight faces as if they are oppressed. Some wear crew-cuts and the others wear relatively long hairs. Some stare at the camera and the others look elsewhere. Some are sitting alone and the others are sitting with their friend. The main center of interest is a boy smiling faintly gazing at the camera. In the foreground, behind him, a boy grimaces looking at the camera. Two of the children put on bright color clothes while the others wear dark color clothes. However, all of them wear somewhat formal clothes regardless of colors. The classroom is pretty dark. There are only boys in the classroom. The classroom is somber and the atmosphere seems to be stiff.    In the photograph called "Children's Puppet Theatre, Paris 1963 taken by Alfred Disenstadt, we see children standing irregularly. There are both girls and boys. This photograph is taken outdoors. It is daytime and so it is bright. In periphery we can see trees. Though we can see only five faces of the children perfectly in the foreground, there are a lot of people in the background. These five children wear different styles of clothes and unique facial expressions. Truly they show completely different reactions. Some cry out and others are surprised. One stops ears with hands. The main center of interest is a boy leaning out of other children pointing somewhere.    In the Brouke-White photograph, we may think that it is restricted. However, if we take a closer look, things are different. An invisible controller may try to control children to impress viewers with perfect order. However, judging from such things not totally coordinated as different hair styles, clothes, and facial expressions, the children may enjoy freedom to some degree. Things may not be as strict as they appear. In the Eisenstadt photograph, we can see genuine feelings in the facial expression of children. This photograph vividly conveys the sense of realism. The children seem to enjoy total freedom.   Provided that we peer eagerly into these two photographs, we may find that they have a kind of freedom in common. Children in both photographs may be free. The only difference is whether the freedom is revealed ostensibly or it is manipulated to be concealed. Rather, the former seemingly staged photograph may make us more smile when we have a close reflection on it. So next time when watching a serious photograph, try to find hidden things.