Synopsis
In 2000, at a time when the idealised family continued to shape social and advertising imagery, American photographer Suzanne Heintz decided to respond with humour to the repeated comments about her single status. Raised in the Mormon faith, in which marriage, motherhood and the patriarchal organisation of the family play a central role, she bought a mannequin husband and daughter and began staging scenes of an ostensibly perfect family life with them.
Inspired by American advertisements, postcards and television series from the 1950s and 1960s, her photographs adopt the vivid colours and frozen poses of this domestic imaginary. Beneath their apparent lightness, however, lies a critique of the roles assigned to women, the transmission of social norms from one generation to the next, and the gap between images of happiness and people’s lived experience.
Drawing on more than fifteen years of archival and personal footage, Imitating Life: The Audacity of Suzanne Heintz traces the development of the project, from its early, private staged scenes to its viral circulation around the world. Against the backdrop of the rise of social media, digital self-portraiture and the constant performance of the self, her work takes on renewed significance.
Combining archival footage, video diaries, interviews and behind-the-scenes material from shoots in Paris, London and New York, the film also reveals the physical and emotional demands of her work. At once funny, intimate and political, the documentary portrays an artist who uses exaggeration, colour and comedy to challenge dominant ideas of success, femininity and family happiness.
What you will find in this film
The origins of a photographic project that is both humorous and radical • Behind the scenes of staged portraits made with a mannequin family • A critique of the models of success imposed on women • How self-portraiture can transform personal experience into a political gesture • The project’s new resonance in the age of social media and constant self-curation
Further exploration
Selected bibliography
• Susan Bright, Auto Focus: The Self-Portrait in Contemporary Photography, Thames & Hudson, 2010. Publisher · Libraries
• Marianne Hirsch, Family Frames: Photography, Narrative, and Postmemory, Harvard University Press, 1997. Libraries
• Jo Spence, Putting Myself in the Picture: A Political, Personal and Photographic Autobiography, Camden Press, 1986.
• Cindy Sherman, The Complete Untitled Film Stills, Museum of Modern Art, 2003. Libraries
• Erving Goffman, Gender Advertisements, Harper & Row, 1979. Libraries
Online
Cindy Sherman, Untitled Film Still #21 – Shana Gallagher-Lindsay and Beth Harris, Smarthistory, 2015 – Free access.
On Feminism – The Editors, Aperture, no. 225, 2016 – Free access.
How Yurie Nagashima’s Self-Portraits Interrogate the Male Gaze – Lesley A. Martin, Aperture, 2020 – Free access.
What Is a Feminist Picture? – Lucy McKeon, Aperture, 2022 – Free access.
Popular, Transient, Expendable: Print Culture and Propaganda in the 20th century – Smarthistory – Free access.
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