The films and photographs that James Collins produced in the 1970s were very much of their moment: like other proponents of so - called Story Art (an overlooked movement that deserves more attention) such as Bill Beckley, Mac Adams and Peter Hutchinson, he created
explicitly narrative images in a photographic - based practice.
Although D'Souza didn't say so
explicitly, it became clear that Mamie Till Mobley, who agreed to publish the
images of her son's open coffin in Jet, was in her own way an agent — a woman controlling the visual
narrative in a time of extraordinary pain.