Bernard Faucon「MV」Dreams of Fantastical Youth, Accuses BTS of Plagiarism 💥 4K

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🎥 Photography: Bernard Faucon
Bernard Faucon stopped taking photographs in 1995 because his work of more than twenty years came to a preternatural end. He could take it no further. His motivational theme was childhood and childhood comes to an end, but, in an age characterised by a media-driven frenzy to protect our innocents against real and mostly imaginary fears, society declared the youthful form to be not only unbeautiful but obscene.
He bowed out with a huge career retrospective in 2006 at the Maison Européenne de la Photographie in Paris. Without any Anglo-Saxon can’t and rant there were morning tours for nursery groups, activity sessions for school-age children, and all the while the Parisian public paid to enter.
Faucon’s is a hugely impressive collection - the very things that childhood dreams are made of. His work falls into five main parts - Early Works; Mannequins; Rooms of Love; Writings on the Landscape, and a climax of Pasolinean beauty and horror called Idols and Sacrifice.
Into these dreams of fantastical youth, real boys enter slowly one by one hidden within the crowd of mannequins. There is a real boy sitting on the edge of a busy swimming pool; lying in the surf of the Camargue; caught in a fishing net; a curled infant naked and asleep in a light shafted barn or railway carriage where a boy mannequin looks on and holds a set of keys. A crowd of happy infant dolls look on as a team of young filmmakers shoot a love scene in the hay. There are hints of the divine in many of the photographs, and several scenes of pagan and Christian ritual - a Sunday-suited boy outside the church of his first communion; a crucifixion; a depiction of 'Tartitius’. The boy who became a Saint after being slaughtered for protecting the Sacrament, is here kneeling, praying and bleeding on a hilltop littered with broken mirrors, and watched by a crowd fortified with wine and armed with a rifle. The boy is real. The crowd are mannequins. It became Faucon’s key image.
Faucon’s genius is not so much his soaring imagination, nor his mastery of light and lighting and shadow. It is not in his meticulous mise-en scene - his thrillingly perfect use of the frame as a compositional space to create movement and life. His genius is in the body language of the subjects, the mannequins and the real boys, which manages to be both naturalistic and enigmatic.
His is a work of Mona Lisa smiles.
🆕 Update of Bernard Faucon Accuses BTS of Plagiarism:
French photographer Bernard Faucon finally admitted that BTS did not plagiarize his work Summer Camp.
April 18, he announced a short admittance letter with his handwritten signature.
He wrote, “I discovered BTS album The Most Beautiful Moment of Life: Young Forever long after it was published, and I immediately felt a common inspiration with my past series of photographs: “Summer Camp”.”
“Since a long time, my photographs using mannequins, or my inspire stage directors, designers, writers and other artists all around the world.”
“As I have always said, I consider this probable inspiration from my work as a tribute, and certainly not as plagiarism or copyright infringement.”
He added “I love BTS, this album is beautiful, I feel honored to know that 40 years later, my photographs still inspire young artists of today.”
Faucon had sent mails to BigHit Entertainment twice on August and September of 2018 demanding an apology, compensation, and public admittance that his work was the source of BTS’s inspiration. However BigHit denied the accusation and that the scenes are from ideas that can be commonly come up with, therefore not being subject to legal protection.
Faucon’s admittance letter is gaining more attention since it has been just one day since SUGA opened up about his thoughts on the accusation during their global press conference held in 2019 April 17.
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