Filming Elia Kazan's "Wild River"--Tennessee 2 Possibly 1959

Editor: This is Robert Frank’s “Filming Elia Kazan's 'Wild River'--Tennessee 2,” likely from 1959. It’s a photography piece, and what strikes me is the contrast between the open landscapes and the tight, almost claustrophobic shots of faces at windows. What do you see in this piece? Curator: For me, this contact sheet is more than just behind-the-scenes imagery; it speaks volumes about power, representation, and the act of witnessing. Kazan's "Wild River" dealt with the displacement of a Black community by the Tennessee Valley Authority, right? Editor: Yes, that’s right. Curator: So, how does Frank, a white photographer on a Hollywood set, engage with this narrative? We see snippets of landscape, the film crew, and then these intimate, almost voyeuristic, glimpses into people's homes. The gaze here becomes crucial. Who is allowed to look, and who is being looked at? Do you see the unease in their faces? Editor: I do. Especially in those window shots. It’s like they’re trapped, on display. Curator: Exactly. Frank’s contact sheet allows us to see the process of constructing this narrative, and in doing so, reveals the power dynamics inherent in filmmaking and, more broadly, in the act of representing a community’s struggles. Think about whose voices are amplified and whose are silenced in the final film. Does Frank’s photography challenge or reinforce those hierarchies? Editor: That’s a really interesting point. I hadn’t considered the act of photographing as a power dynamic itself. Curator: It always is, isn't it? Looking at it now, what have you learned? Editor: How even documentary-style photography involves a complex web of social and historical implications that impact marginalized groups. Curator: Indeed. The photograph itself can both reflect and perpetuate inequality.