Edinburgh students may think they know protests, but the events unfolding in France this week are on another level, as students protest against long hours, teacher absences, and the dilapidated state of their schools. Our newsfeeds have been flooded with photos of the smashed glass, flames and defaced statues of a frustrated and angry Paris. In light of this, let’s take a look back at the famous protests of ‘Mai 68’ and the photographers that documented it.
‘Mai 68’ was one of the great modern uprisings. A widespread period of civil unrest, protests, violence, born from Paris’ universities, much like the current protesting. A lot of incredible documentary photography was created during this period. Today, let’s look at the works of Henri Cartier-Bresson, Bruno Barbey, and Philippe Vermes. These photographers were at the heart of it, educating us all in the art of protest.
Henri Cartier-Bresson was a leading figure in the rise of mass-circulation picture magazines, and one of his most iconic examples of protest photography was ‘Student Demonstration, Paris’ taken in June 1968. Armed with his 35mm Leica camera, Cartier-Bresson positions himself among the protestors. He forces his audience into a face-off with a group of students, the ominous dome of the Sorbonne a backdrop and symbol of the reason behind all of this. Despite its volatile nature, this image is one of unity. The linked arms, the sense of pride staring down the camera, Cartier-Bresson has humanised the students without diminishing the power of their protest.
Bruno Barbey was also at the forefront of the ‘Mai 68’ protests. An image I find particularly moving is ‘May 27 1968. 13th Arrondissement, 81 Boulevard Kellerman, Paris. Meeting of workers and students at Charlety stadium.’ Again, we are placed amongst the crowds, but Barbey has captured a scene of powerful peace. He shows us a sea of solemn faces and crossed hands that seems to never end. By specifying that this meeting took place in Charlety Stadium, and filled it, Barbey utilises his caption to drive home the scale of these protests. He seems to have mastered the art of composition, capturing such a vast scene while focusing on one figure, a symbol of defiance rising from the crowd. Bruno Barbey has used photography to simultaneously educate and inspire.
Another prominent photographer of the uprisings was Philippe Vermès. Vermès wasn’t at the peaceful meets, or among the dynamic marches, but in the lithography studio at the École des Beaux-Arts. During this period, the Atelier Populaire occupied the studio to produce posters and other visual material used in protests. Access to the studio was very exclusive, especially for photographers, to protect identities. Vermès was one of the selected few and took the photo ‘Atelier Populaire, May 1968.’ from inside the studio. Half the frame is filled by posters hanging to dry; great promotion for the protesters, while also creating a very interesting composition. Behind these, the artists are at work, their hands blurry with movement. Philippe gives us insight into the power of arts when it comes to having your voice heard and making change.
Photojournalism has long been a powerful artform to educate, inspire and enrage, and these photographers have done just that. They created beautiful images that did not shy away from the violence and emotion of the ‘Mai 68.’ Their photographs allow us to look back at the history of protests, scenes that resemble those filling our newsfeeds right now, and the art that powers it.
Illustration by Jianglin Jiang @jlin.design for The Student.
