PT141.S1.P2.Q9 > Explanation

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From a critical discussion of the work of Victorian photographer Julia Margaret Cameron.

What Cameron called her "fancy-subject" pictures—photographs in which two or more costumed sitters enacted, under Cameron's direction, scenes from the Bible, mythology, Shakespeare, or Tennyson—bear unmistakable traces of the often comical conditions under which they were taken. In many respects they have more connection to the family album pictures of recalcitrant relatives who have been herded together for the obligatory group picture than they do to the masterpieces of Western painting. In Raphael and Giotto there are no infant Christs whose faces are blurred because they moved, or who are looking at the viewer with frank hatred. These traces, of course, are what give the photographs their life and charm. If Cameron had succeeded in her project of making seamless works of illustrative art, her work would be among the curiosities of Victorian photography—like Oscar Gustave Rejlander's extravagantly awful The Two Ways of Life—rather than among its most vital images.

It is precisely the camera's realism—its stubborn obsession with the surface of things—that has given Cameron's theatricality and artificiality its atmosphere of truth. …

Intro to Topic · Cameron’s "fancy-subject" picture

Picture of people in costume enacting scenes from the bible, mythology, or literature.

It is the truth of the sitting, rather than the fiction which all the dressing up was in aid of, that wafts out of these wonderful and strange, not-quite-in-focus photographs. They are what they are: pictures of housemaids and nieces and husbands and village children who are dressed up as Mary Madonnas and infant Jesuses and John the Baptists and Lancelots and Guineveres and trying desperately hard to sit still. …

Details · Photos more like family album than masterpieces of art

The way each sitter endures his or her ordeal is the collective action of the photograph, its "plot" so to speak. When we look at a narrative painting we can suspend our disbelief; when we look at a narrative photograph we cannot. We are always aware of the photograph's doubleness—of each figure's imaginary and real personas. Theater can transcend its doubleness, can make us believe (for at least some of the time) that we are seeing only Lear or Medea. Still photographs of theatrical scenes can never escape being pictures of actors.

Main Point · But these details are what makes Cameron's photos important

I'm guessing this is the main point and the rest of the passage will support this.

What gives Cameron's pictures of actors their special quality—their status as treasures of photography of an unfathomably peculiar sort—is their singular combination of amateurism and artistry. …

Premise · Cameron's photos capture truth

In The Passing of Arthur, for example, the mast and oar of the makeshift boat representing a royal barge are obviously broomsticks and the water is white muslin drapery. But these details are insignificant. For once, the homely truth of the sitting gives right of place to the romantic fantasy of its director. …

Premise · The truth is in the taking of the photos

Housemaids and family members playing dress up and trying to get through the ordeal of posing for the photoshoot. That's the truth that Cameron's photos captured.

The picture, a night scene, is magical and mysterious. While Cameron's fancy-subject pictures have been compared to poor amateur theatricals, The Passing of Arthur puts one in mind of good amateur theatricals one has seen, and recalls with shameless delight.

Premise · Cameron's photos unlike painting or theater

In painting and theater, we can suspend disbelief thinking we're only seeing, for example, Jesus or King Lear

Passage Style

Single position

Spotlight

The author mentions the props employed in The Passing of Arthur as

Question Type

Purpose in context (of word, phrase, or idea)

Structure

Why does the author mention the mast and oar in the last paragraph? Notice that the author calls the mast and oar “obviously broomsticks.” This shows the amateur nature of Cameron’s pictures.

examples of amateurish aspects of the work

This best fits the author’s purpose in mentioning the mast and the oar. Notice that the author calls the mast and oar “obviously broomsticks.” This shows the amateur nature of Cameron’s pictures.

85%

evidence of the transformative power of theater

These props are examples of amateurism, not of how theater is transformative. The idea that theater is transformative isn’t a point made in connection with The Passing of Arthur.

testimonies to Cameron's ingenuity

These props are examples of amateurism, not of Cameron’s cleverness. The idea of ingenuity is never brought up in connection with The Passing of Arthur.

indications that the work is intended ironically

These props are examples of amateurism, not of irony underlying Cameron’s work. Irony is never mentioned in connection with The Passing of Arthur.

support for a negative appraisal of the work

The author doesn’t suggest she has a negative appraisal of The Passing of Arthur.

PrepTest 141 - Section 1 - Passage 2 - Question 9

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