Return Journey - ACE112.7

Smith with Jimmy Forsyth. His VO describes Forsyth‘s work of photographing the Scotswood area. Forsyth tells him how he got started on this. Some of his pictures. They discuss how the area has changed and communities have been broken up. Photograph of knife grinder, a Mr Francis); Forsyth says he didn’t talk to the man and is not sure he even knew he was being photographed. Photograph of women (all neighbours) standing in shop doorway; pictures inside the shop. Smith and Forsyth look at other photographs, one showing the opening of the first high-rise flats, The Willows, at Cruddas Park (1962), together with unveiling of the sculpture ("the monstrosity" by Ken Ford which subsequently disappeared; Hugh Gaitskell making a speech. Smith’s VO talking about this "systematic and … very authoritative document" of a changing working class community produced by someone from the community itself. More photographs of people in the streets. Commentary wonders how many people from the Scotswood area would actually come to see the photographs in an exhibition. Smith shows Forsyth round gallery. Commentary asks if it is likely that Forsyth’s work will become collectible like that of Spender. Smith’s VO talking about people’s perception of galleries as being for "works of art", so this is the context in which Forsyth’s photographs will have to appear; because of press interest, he also wonders if they will become saleable as "vintage prints". More of the photographs. Forsyth with a new camera. Spender’s workroom; commentary says he has given up photography and now paints and teaches art. Spender says "there is always something convincing about a photograph" and that he would rather be a good painter than a good photographer. Shipyard scenes. Smith with photographs of building of the Mauretania. He talks about parallels between the 1930s and the present day; he suggests that few photographs are taken that do not appear in the conservative context of newspapers, and that galleries can provide an alternative. Views of Spender’s MO photographs. One of his own photographs of an unemployed man, unlikely to work again – his father. Credits.