Berger moved to Quincy in the Haute-Savoie, France, in 1962 due to his distaste for life in Britain. In 1972, the BBC broadcast his four-part television series Ways of Seeing and published its accompanying text, a book of the same name. The first episode functions as an introduction to the study of images; it was derived in part from Walter Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction". The subsequent episodes concern the image of woman as a sexualized object in Western culture, expressions of property ownership and wealth in European oil painting, and modern advertising. The series, the first of several close collaborations with director Mike Dibb, has had a lasting influence, and in particular introduced the concept of the male gaze, as part of his analysis of the treatment of the nude in European painting. It soon became popular among feminists, including the British film critic Laura Mulvey, who used it to critique traditional media representations of the female character in cinema. Berger's novel G., a picaresque romance set in Europe in 1898, won the James Tait Black Memorial Prize and the Booker Prize in 1972. Berger donated half the Booker cash prize to the British Black Panthers, and retained half to support his work on the study on migrant workers that became A Seventh Man, asserting that both endeavors represented aspects of his political struggle. In his acceptance speech at the Booker Prize ceremony, Berger said the prize's sponsor Booker McConnell had a long history of slavery and exploitation in the Caribbean, and this was why he wanted to donate the money to the British Black Panthers and fund the writing of his book on migrant workers. Berger's sociological writings include A Fortunate Man: The Story of a Country Doctor (1967) and A Seventh Man: Migrant Workers in Europe (1975). Berger and photographer Jean Mohr, his frequent collaborator, sought to document and understand the experiences of peasants. Their subsequent book, Another Way of Telling, discusses and illustrates their documentary technique and treats the theory of photography through Berger's essays and Mohr's photographs. His studies of individual artists include The Success and Failure of Picasso (1965), a survey of that modernist's career, and Art and Revolution: Ernst Neizvestny, Endurance, and the Role of the Artist in the USSR (1969). In the 1970s, Berger collaborated on three films with the Swiss director Alain Tanner: He