Richard Burton and Liz Taylor kissing in Ischia, June 1962, taken by Marcello Geppetti (1933-1998). MGMC & Solares Fondazione delle Arti
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Paparazzi: artists or intruders? A new exhibition celebrates the original snappers' works

The Estorick Collection is displaying the original paparazzi shots of Sixties stars in Rome as a collection of historic and artistic snaps. But were the paparazzi really artists, and can we imagine today’s paps having such an impact?

They get lunged at, insulted, physically harassed and chased. They make their money from the superficial trappings of show business – white smiles, symmetrical features, pricey revelry, designer offspring – and operate in the streets, corridors and VIP areas of downtown celebrity hubs the world over. Stars and paparazzi have a lot in common.

Although reported altercations between cameramen and celebrities can inspire very little sympathy for either party – due mainly to the tasteless intrusion of the snapper and general absurdity of the subject – the struggle of the paparazzo to capture their prized image could one day end up as art.

Franco Nero assaulting Rino Barillari at the Trevi Fountain, 1965, taken by Marcello Geppetti (1933-1998). MGMC & Solares Fondazione delle Arti

 

In a new exhibition at London’s Estorick Collection – a gallery of modern Italian art – the original paparazzi images are on display. ‘The Years of La Dolce Vita’ presents pictures of both Italian and Hollywood celebrities working on films and living a rather dolce vita themselves in Sixties Rome among other gilded Italian locations.

The collection mainly comprises intimate shots of actors by Marcello Geppetti – one of history’s first paparazzi. Director Federico Fellini’s film of 1960, La Dolce Vita, coined the word ‘paparazzo’ for the surname of its fictional news cameraman, the origin of which is a dialect word for the incessant buzzing of an insect.

From Ingrid Bergman warily pacing down a Rome street with her two daughters to Brigitte Bardot in polka dot trousers looking over her shoulder away from dozens of photographers, and Audrey Hepburn pensively leaning on a bakery counter to one of the most famous candid shots – Richard Burton kissing Elizabeth Taylor on a boat roof in Ischia (they were both married at the time) – almost every glamorous visitor to Sixties Italy is captured by Geppetti’s tenacious lens.

Displayed in a gallery, these photos – even the ones of enraged actors assaulting cameramen (there’s an intriguing one of Swedish actor Anita Ekberg in stockinged feet attacking photographers in her driveway with a bow and arrow in hand) – transform from fleeting flashes for tomorrow’s paper to works of art.

Culturally compelling and with a story to tell, Geppetti and his clicking contemporaries’ images are pieces of history – and their uniquely sensational yet naive tone, in black and white, make them appear more as iconic snapshots of a lost age than invasions into people’s personal space. And they were both. For every tasteless picture – one of the original ‘upskirt’ shots must have been Geppetti’s 1963 photo of French actor Michèle Mercier being lifted up having fainted – there are others evoking an extraordinary era of decadence and glamour.

Raquel Welch and Marcello Mastroianni at Cinecitta on the set of the movie “Shoot Loud, Louder, I do not understand ...”, 1966, taken by Marcello Geppetti (1933-1998). MGMC & Solares Fondazione delle Arti

 

Although a magnificent shot of actor and Mr Universe 1955 Mike Hargitay lifting his fellow actor and wife Jayne Mansfield into a cab after leaving a bar – the latter carrying her shoes and wearing an ornate floor-length evening dress – isn’t exactly translated in the images of Justin Bieber loping around in ill-fitting trackies we see today, the papping principle hasn’t changed since the practice began. As they did then, subjects now both court the cameras and deplore them. Paparazzi still aim for the most intimate shots they can find, valuing exclusivity and level of fame above all other factors. Shots of the celebrity in a couple, or with their children, remain the most lucrative.

But there’s a difference today, which could make exclusive paparazzi shots even more valuable in the future. First, with smartphones, everyone’s a photographer; the general public can often undermine a pap hard at work by being/lurking in the right place at the right time. Second, celebrities often do the paparazzi’s work for them (but for free) by publicising intimate shots of their personal lives on Instagram. But will the paparazzi who survive these modern threats eventually emerge as artists?

Here’s what Clément Chéroux, the curator of another exhibition, ‘Paparazzi! Photographers, stars and artists’, in France, had to say on the subject:

The paparazzi make history as well as witness it. There are certain events that have become important because they have been photographed... In the public consciousness, the paparazzo is seen as a loser, someone who is not very normal, who will sell his grandmother for money. He has no ethics, he's a bit dirty. He is the antihero, whereas the war photographer is the hero: a figure who risks his life to bring back images from the front. In reality, things are a lot more complex.

Anoosh Chakelian is senior writer at the New Statesman.

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How power shifted dramatically in this week’s Game of Thrones

The best-laid plans of Mothers and men often go awry.

Last week’s Game of Thrones was absolutely full of maps. It had more maps than a Paper Towns/Moonrise Kingdom crossover. More maps than an Ordnance Survey walking tour of a cartographer’s convention. More maps than your average week on CityMetric.

So imagine the cheers of delight when this week’s episode, “Stormborn”, opened with – yes, a map! Enter Daenerys, casting her eyes over her carved table map (Ikea’s Västeross range, I believe), deciding whether to take King’s Landing and the iron throne from Cersei or a different path. After some sassy debates with Varys over loyalty, more members of her court enter to point angrily at different grooves in the table as Dany and Tyrion move their minature armies around the board.

In fact, this whole episode had a sense of model parts slotting pleasingly into place. Melisandre finally moved down the board from Winterfell to Dragonstone to initiate the series’ most inevitable meeting, between The King of the North and the Mother of Dragons. Jon is hot on her heels. Arya crossed paths with old friends Hot Pie and Nymeria, and the right word spoken at the right time saw her readjust her course to at last head home to the North. Tyrion seamlessly anticipated a move from Cersei and changed Dany’s tack accordingly. There was less exposition than last week, but the episode was starting to feel like an elegant opening to a long game of chess.

All this made the episode’s action-filled denouement all the more shocking. As Yara, Theon and Ellaria dutifully took their place in Dany’s carefully mapped out plans, they were ambushed by their mad uncle Euron (a character increasingly resembling Blackbeard-as-played-by-Jared-Leto). We should have known: just minutes before, Yara and Ellaria started to get it on, and as TV law dictates, things can never end well for lesbians. As the Sand Snakes were mown down one by one, Euron captured Yara and dared poor Theon to try to save her. As Theon stared at Yara’s desperate face and tried to build up the courage to save her, we saw the old ghost of Reek quiver across his face, and he threw himself overboard. It’s an interesting decision from a show that has recently so enjoyed showing its most abused characters (particularly women) delight in showy, violent acts of revenge. Theon reminds us that the sad reality of trauma is that it can make people behave in ways that are not brave, or redemptive, or even kind.

So Euron’s surprise attack on the rest of the Greyjoy fleet essentially knocked all the pieces off the board, to remind us that the best-laid plans of Mothers and men often go awry. Even when you’ve laid them on a map.

But now for the real question. Who WAS the baddest bitch of this week’s Game of Thrones?

Bad bitch points are awarded as follows:

  • Varys delivering an extremely sassy speech about serving the people. +19.
  • Missandei correcting Dany’s High Valerian was Extremely Bold, and I, for one, applaud her. +7.
  • The prophecy that hinges on a gender-based misinterpretation of the word “man” or “prince” has been old since Macbeth, but we will give Dany, like, two points for her “I am not a prince” chat purely out of feminist obligation. +2.
  • Cersei having to resort to racist rhetoric to try and persuade her own soldiers to fight for her. This is a weak look, Cersei. -13.
  • Samwell just casually chatting back to his Maester on ancient medicine even though he’s been there for like, a week, and has read a total of one (1) book on greyscale. +5. He seems pretty wrong, but we’re giving points for sheer audacity.
  • Cersei thinking she can destroy Dany’s dragon army with one (1) big crossbow. -15. Harold, they’re dragons.
  • “I’ve known a great many clever men. I’ve outlived them all. You know why? I ignored them.” Olenna is the queen of my LIFE. +71 for this one (1) comment.
  • Grey Worm taking a risk and being (literally) naked around someone he loves. +33. He’s cool with rabid dogs, dizzying heights and tumultuous oceans, but clearly this was really scary for him. It’s important and good to be vulnerable!! All the pats on the back for Grey Worm. He really did that.
  • Sam just fully going for it and chopping off all of Jorah’s skin (even though he literally… just read a book that said dragonglass can cure greyscale??). +14. What is this bold motherfucker doing.
  • Jorah letting him. +11.
  • “You’ve been making pies?” “One or two.” Blatant fan service from psycho killer Arya, but I fully loved it. +25.
  • Jon making Sansa temporary Queen in the North. +7.
  • Sansa – queen of my heart and now Queen in the North!!! +17.
  • Jon choking Littlefinger for perving over Sansa. +19. This would just be weird and patriarchal, but Littlefinger is an unholy cunt and Sansa has been horrifically abused by 60 per cent of the men who have ever touched her.
  • Nymeria staring down the woman who once possessed her in a delicious reversal of fortune. +13. Yes, she’s a wolf but she did not consent to being owned by a strangely aggressive child.
  • Euron had a big win. So, regrettably, +10.

​That means this week’s bad bitch is Olenna Tyrell, because who even comes close? This week’s loser is Cersei. But, as always, with the caveat that when Cersei is really losing – she strikes hard. Plus, Qyburn’s comment about the dragon skeletons under King’s Landing, “Curious that King Robert did not have them destroyed”, coupled with his previous penchant for re-animated dead bodies, makes me nervous, and worry that – in light of Cersei’s lack of heir – we’re moving towards a Cersei-Qyburn-White Walkers alliance. So do watch out.

Anna Leszkiewicz is a pop culture writer at the New Statesman.