There is a certain harmony between photography and film when it comes to capturing the intricacies of the human experience. Both mediums excel in portraying these nuances with beauty and profound impact in the documentary genre. More commonly than not, an onlooker assumes the role of the camera operator. Media professionals, reporters, and filmmakers—these bystanders become witnesses, capturing such moments through photography or filming. Their presence is uncommon, almost symbolic, like scientists on an Arctic journey. Even bundled in fur, the cold feels unfamiliar. But what happens when the camera is in the possession of someone deeply immersed in the experience and intimately connected to it, not merely present to document but whose very home is the captured environment?
It is an obvious fact that the images provide a much more nuanced perspective on historical occurrences when the individual living through the unfolding events is also holding the camera. The films MEDIHA and TISH stand as compelling examples of this phenomenon. Each offers a distinct perspective on the power of firsthand visual documentation—MEDIHA, a poignant exploration of personal healing through the lens of a teenage Yazidi girl, and TISH, a socio-economic commentary on Thatcherite Britain through the eyes of a working-class photographer. Two unique lives whose experiences breathe with parallel honesty.
Tish Murtha dedicated her life to documenting the experiences of her friends and family in Newcastle through photography. Far from being a mere external observer, she was herself as an integral part of these working-class communities, directly participating and portraying their diverse experiences on film. She didn’t treat them as subjects to be placed under a microscope. Perhaps it can be argued that she couldn’t: The stifling atmosphere of the Thatcherite era smothered everyone, including herself. The socioeconomic conditions she portrayed through her lens were not abstract to her; they were her reality, a part of her lived experience. But it was Tish’s conscious decision to animate their vigour through her photography. Despite the harsh realities of misery, poverty, and exhaustion they endured, Thatcherism unjustly took nearly everything from them but it never stripped away their humanity. This is what Tish’s work reveals. This is what she brings to life: their enduring strength. And she does so without shame. Her own life was intertwined with the struggles she documented, which, of course, made it hard for her to break free from the cycle of poverty and unemployment herself. The shadow of poverty accompanied her death, with her images unsurprisingly left behind by the very people responsible for these economic injustices. But the recently released documentary allows us the chance to not only see these remarkable images ourselves — ensuring they receive the gratitude they deserve — but also to really feel the humanity contained within them. And to release this humanity upon future generations.
While Tish uses photography to document personal and societal issues, Mediha uses it as a means of therapy. This is where the nature of the protagonists’ relationships with their cameras differs. Mediha, a teenage Yazidi girl recently freed from ISIS captivity turns the camera on herself as she navigates the depth of her trauma. As rescuers persistently search for her missing family members, Mediha’s video-diaries serve as a potent lens through which she openly confronts her past. Her struggles encompass more than just the unkind realities of her childhood, or the lack thereof; she is also navigating the intricacies of her coming of age. Without their mom, she shoulders the responsibility of being a rock for her brothers, all while still being a child. In this context, her camera emerges as a stabilising force: amidst the profound imbalance, it offers a sense of equilibrium. Grasping the extent of what she endured is a difficult endeavour, as no one should ever face such suffering, but through the expressive channel of her visual diaries, she articulates her voice. Perhaps unexpectedly, we realise she’s just like any other girl. Mediha is a young woman discovering herself and the world, and despite facing more harrowing ordeals than most, she shouldn’t be perceived as another, or someone beyond-understanding. Her remarkable fierceness and resilience set her apart, obviously, but her humanity is just as vibrant, if not more so, than ours. Bursting with the brilliance of youth, her spirit and intellect come to life. Her video diaries establish a more interesting and profound bond than interviews could ever cultivate.
Personal observational documentation, as seen in both films, provides a more fascinating and multi-faceted perspective on historical events. It weaves a tapestry of emotions through the dance of struggles and triumphs experienced by those involved. The camera becomes a private space for both Mediha and Tish to make sense of the environment they inhabit and their inner selves. Direct intimacy in storytelling presentation becomes a bridge that spans geographical and cultural distances, enabling us to cross what would otherwise be a remote gap with a heightened emotional perspective – for better or for worse. It can be said, then, that the scientists embarking on their Arctic expedition wrapped in fur will still feel the unfamiliar cold cling to them, while the native inhabitants will embrace it as friendly presence; To them, the frigid Arctic expanse unfolds its secrets with a sense of ease and recognition, revealing a stark contrast between the newcomer and those intimately attuned to the frozen landscape.
TISH is available to watch now on Curzon Home and BFI Player in the UK.
MEDIHA is part of this year’s London edition of the Human Rights Watch Film Festival and was selected as the opening night film of the festival. It is now available to watch online as part of their Digital Festival 18-24 March, streaming across the UK & Ireland.
Together Films is representing TISH and MEDIHA for International Sales, find out more about our sales slate here:
