Pub Date : 2023-05-01DOI: 10.1215/21582025-10365066
Elena Tajima Creef
Japanese new media artist Masaki Fujihata's exhibition and groundbreaking accompanying public augmented reality (AR) installation “BeHere/1942: A New Lens on the Japanese American Incarceration” remind us that even after eighty years, the ghost life of World War II Japanese American internment continues to haunt us. “BeHere/1942” revisits the War Relocation Authority's photographic history of the Japanese American incarceration experience using digital technology, including AR, which allows contemporary spectators to immerse themselves in the events of “relocation day” in the spring of 1942. Fujihata provides a new way of seeing, remembering, and experiencing photographs of the Japanese American wartime past in the present—empowered with contemporary media tools that are distinctly from what he calls “our own time”: AR.
{"title":"Back to the Future: Time Traveling to 1942","authors":"Elena Tajima Creef","doi":"10.1215/21582025-10365066","DOIUrl":"https://doi.org/10.1215/21582025-10365066","url":null,"abstract":"\u0000 Japanese new media artist Masaki Fujihata's exhibition and groundbreaking accompanying public augmented reality (AR) installation “BeHere/1942: A New Lens on the Japanese American Incarceration” remind us that even after eighty years, the ghost life of World War II Japanese American internment continues to haunt us. “BeHere/1942” revisits the War Relocation Authority's photographic history of the Japanese American incarceration experience using digital technology, including AR, which allows contemporary spectators to immerse themselves in the events of “relocation day” in the spring of 1942. Fujihata provides a new way of seeing, remembering, and experiencing photographs of the Japanese American wartime past in the present—empowered with contemporary media tools that are distinctly from what he calls “our own time”: AR.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133831208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1215/21582025-10365056
S. Yin
In this article, the author critically reflects on her long project One Day We'll Understand, a multichapter research and art work that complicates the historiography of the “Malayan Emergency,” the anticolonial war in the former British colony of Malaya (1948–60)—made in the context of a growing number of art works globally dealing with the ghosts of empire. In charting the project's various parts, the author discusses how she uses art and multiple modes of archiving to conjure the specters of colonialism and traces of resistance and generate a different form of knowledge and remembrance, and how that offers us possible paths of restitution and repair.
{"title":"Methods of Memory: Time Travels in the Archives","authors":"S. Yin","doi":"10.1215/21582025-10365056","DOIUrl":"https://doi.org/10.1215/21582025-10365056","url":null,"abstract":"\u0000 In this article, the author critically reflects on her long project One Day We'll Understand, a multichapter research and art work that complicates the historiography of the “Malayan Emergency,” the anticolonial war in the former British colony of Malaya (1948–60)—made in the context of a growing number of art works globally dealing with the ghosts of empire. In charting the project's various parts, the author discusses how she uses art and multiple modes of archiving to conjure the specters of colonialism and traces of resistance and generate a different form of knowledge and remembrance, and how that offers us possible paths of restitution and repair.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121449502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1215/21582025-10365036
Nadine Attewell
This article thinks with and against photographs taken by British military photographers in Hong Kong at the end of World War II, during the transition from Japanese back to British colonial rule. Building on Lisa Yoneyama's account of the “postwar settlements” through which “the war's meaning” was defined and contained, I situate the photographs as part of a broader British effort to reassert the legitimacy of colonial rule at a crisis point for empire by refiguring Asian liberation as an affordance, or synonym, of British (re)occupation. At the same time, I read the photographs for what they can tell us about the liberatory knowledges that Asian colonial subjects had cultivated, or might have, throughout years of war and occupation. In this way, the article meditates on the predicaments of liberation in an Asian place where the horizon of decolonization continues to be difficult to discern, focusing on the care work necessary for survival as a crucial site and practice of liberatory political imagining.
{"title":"Hong Kong in Transition: Photography and Liberation at the End of the Pacific War","authors":"Nadine Attewell","doi":"10.1215/21582025-10365036","DOIUrl":"https://doi.org/10.1215/21582025-10365036","url":null,"abstract":"\u0000 This article thinks with and against photographs taken by British military photographers in Hong Kong at the end of World War II, during the transition from Japanese back to British colonial rule. Building on Lisa Yoneyama's account of the “postwar settlements” through which “the war's meaning” was defined and contained, I situate the photographs as part of a broader British effort to reassert the legitimacy of colonial rule at a crisis point for empire by refiguring Asian liberation as an affordance, or synonym, of British (re)occupation. At the same time, I read the photographs for what they can tell us about the liberatory knowledges that Asian colonial subjects had cultivated, or might have, throughout years of war and occupation. In this way, the article meditates on the predicaments of liberation in an Asian place where the horizon of decolonization continues to be difficult to discern, focusing on the care work necessary for survival as a crucial site and practice of liberatory political imagining.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124457397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1215/21582025-10365006
M. Chase
This article studies the use of photography in the construction of solidarity between Cuba and Vietnam during the war years. It shows the way photography helped illustrate and articulate Cuba's evolving understanding of the Vietnam War as a conflict that was analogous to, and in some ways the culmination of, Cuba's own revolution. While Cuba enthusiastically embraced and disseminated photographs from Vietnam, the meanings attached to these photos were also modified to speak to domestic concerns. By focusing on the images used in two specific solidarity campaigns devoted to imprisoned activist Võ Thị Thắng and “martyr” Nguyễn Văn Trỗi, the article explores the way Cuban understandings of acceptable forms of revolutionary violence and its gendered expressions shaped the meanings attributed to these two figures.
本文研究了在战争年代，摄影在古巴和越南之间的团结建设中的应用。它展示了摄影是如何帮助阐释和表达古巴对越南战争的不断演变的理解的，越南战争是一场类似于古巴自己革命的冲突，在某种程度上是古巴革命的高潮。虽然古巴热情地接受和传播来自越南的照片，但也修改了这些照片的含义，以反映国内的关切。本文聚焦于狱中活动人士Võ thnguyen Thắng与“殉道者”Nguyễn v Trỗi两场声援运动中使用的影像，探讨古巴人对可接受的革命暴力形式及其性别表达的理解，如何塑造这两位人物的意义。
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Pub Date : 2023-05-01DOI: 10.1215/21582025-10365016
Vindhya Buthpitiya
This article examines the uses of images of women fighters of the Liberation Tigers of Tamil Eelam during and after the Sri Lankan civil war (1983–2009) to explore the contrasting mobilizations of visual representations of Tamil women cadres, focusing on the cultivation and framing of contradictory nationalist imaginaries by competing ethnic and state actors. In northern Sri Lanka, portraits of gun-bearing women fighters were wielded to signal revolutionary possibilities for the future of the Tamil nation-state as well as to inform the political socialization of its hopeful citizens. Meanwhile, images of Tamil women cadres were cast as gendered and ethnicized threats by the Sri Lankan state in what constituted a calculated form of visual ethno-political othering and weaponization. This article reflects on the ways in which such appropriations exacerbated the political precarity of and the denial of victimhood to Tamil women.
本文检视泰米尔伊拉姆猛虎解放组织(Liberation Tigers of Tamil Eelam)女性战士在斯里兰卡内战期间(1983-2009)与之后的影像使用，以探讨泰米尔女性干部视觉表现的动员对比，重点关注族群与国家行动者对矛盾民族主义想象的培养与建构。在斯里兰卡北部，手持枪支的女战士的画像被挥舞着，以表明泰米尔民族国家未来的革命可能性，并告知其充满希望的公民的政治社会化。与此同时，泰米尔女性干部的形象被斯里兰卡政府塑造成性别和种族化的威胁，构成了一种有计划的视觉上的种族政治异化和武器化形式。这篇文章反映了这种拨款如何加剧了泰米尔妇女的政治不稳定性和受害者身份的否认。
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Pub Date : 2023-05-01DOI: 10.1215/21582025-10364996
T. Phu
This introduction contends that debates on militarized visual cultures need to consider the active role of images in shaping perspectives on war and in mediating memories of its aftermaths in and across Asia. Doing so entails taking account of quotidian experiences of war as well as reckoning with the limits of archives.
{"title":"Images at War: An Introduction","authors":"T. Phu","doi":"10.1215/21582025-10364996","DOIUrl":"https://doi.org/10.1215/21582025-10364996","url":null,"abstract":"\u0000 This introduction contends that debates on militarized visual cultures need to consider the active role of images in shaping perspectives on war and in mediating memories of its aftermaths in and across Asia. Doing so entails taking account of quotidian experiences of war as well as reckoning with the limits of archives.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122673782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1215/21582025-10365026
Santasil Mallik
During World War II, more than a hundred thousand US soldiers, popularly known as GIs, camped in Calcutta, India, to steer the Eastern Front war against the Imperial Japanese Army in the China-Burma-India theater. The port city became a strategically relevant transit hub for the soldiers to airlift food and military resources, alongside channeling information to war zones. But it also acted as a site for the rest and recreation of the soldiers. With higher salaries and added scope for leisure in Calcutta, the pervasive presence of the GIs introduced a new orientation of military relationship with the public—more cordial, touristic, and commercially transactional than the British officials. Military photographer Clyde Waddell captured the recreational activities of GIs in the streets of Calcutta at their behest and self-published sixty photographs in 1946. Though the images depict everyday scenes in the colonial city, their thematic elements and semiotics betray the ideological designs of the US Army in an era of changing global equations. Waddell's images inhabit a curious location between wartime reportage and personal memorabilia. This article undertakes a semiotic reading of such photographs by Waddell to situate the complex location of the American GIs in the erstwhile capital city of the disintegrating British colony.
{"title":"GI Photos of Calcutta: Toward a Vernacular Understanding of War","authors":"Santasil Mallik","doi":"10.1215/21582025-10365026","DOIUrl":"https://doi.org/10.1215/21582025-10365026","url":null,"abstract":"\u0000 During World War II, more than a hundred thousand US soldiers, popularly known as GIs, camped in Calcutta, India, to steer the Eastern Front war against the Imperial Japanese Army in the China-Burma-India theater. The port city became a strategically relevant transit hub for the soldiers to airlift food and military resources, alongside channeling information to war zones. But it also acted as a site for the rest and recreation of the soldiers. With higher salaries and added scope for leisure in Calcutta, the pervasive presence of the GIs introduced a new orientation of military relationship with the public—more cordial, touristic, and commercially transactional than the British officials. Military photographer Clyde Waddell captured the recreational activities of GIs in the streets of Calcutta at their behest and self-published sixty photographs in 1946. Though the images depict everyday scenes in the colonial city, their thematic elements and semiotics betray the ideological designs of the US Army in an era of changing global equations. Waddell's images inhabit a curious location between wartime reportage and personal memorabilia. This article undertakes a semiotic reading of such photographs by Waddell to situate the complex location of the American GIs in the erstwhile capital city of the disintegrating British colony.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125787185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1215/21582025-10365046
Ann Matthew
While collecting family photographs of some of the 2.5 million Indians who fought in World War II on behalf of their British colonizer, this article's author, an artist, found that the idea of photographic “ubiquity” was turned on its head. She became increasingly aware of how socioeconomic privilege, caste, and class played a role in who was never photographed and thus who is not represented in the history of photography, in photo albums, and in military archives. Three different installations titled The UNREMEMBERED: Indian Soldiers of World War II include the use family photographs and archival footage. In this article, the artist explores questions about who is not represented in photo albums and archives and approaches to remedying their absence.
{"title":"Who Is Missing? Albums and Archives","authors":"Ann Matthew","doi":"10.1215/21582025-10365046","DOIUrl":"https://doi.org/10.1215/21582025-10365046","url":null,"abstract":"\u0000 While collecting family photographs of some of the 2.5 million Indians who fought in World War II on behalf of their British colonizer, this article's author, an artist, found that the idea of photographic “ubiquity” was turned on its head. She became increasingly aware of how socioeconomic privilege, caste, and class played a role in who was never photographed and thus who is not represented in the history of photography, in photo albums, and in military archives. Three different installations titled The UNREMEMBERED: Indian Soldiers of World War II include the use family photographs and archival footage. In this article, the artist explores questions about who is not represented in photo albums and archives and approaches to remedying their absence.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128704873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1215/21582025-10048222
Zoé E. Headley
This article explores the diffusion and productions of commercial studio photography in South India (Tamil Nadu) from the time the first Indian-run studios opened in the 1880s up to the demise of analog photography—and thereby of many family-run studios—a century later. The particular focus of the article is on research carried out to constitute the stars.archive (Studies in Tamil Studio Archives and Society), the first digital archive of Tamil studio photography, which includes around forty-two thousand photographic images digitized inside studios, private homes, and secondhand shops all over Tamil Nadu. Through examination of the archive, the article suggests that a history of photography in this region needs to attend more closely to the specificities of appropriation of the photographic apparatus and its social uses by sourcing empirical data outside institutional archives. A closer examination of the content of the stars.archive reveals the diversification over time of the social uses of studio photography, far beyond the ubiquitous “studio portrait.”
{"title":"Three Histories and Seven Lives: Investigating the Archives of South Indian Photo Studios, Tamil Nadu, 1880–1980","authors":"Zoé E. Headley","doi":"10.1215/21582025-10048222","DOIUrl":"https://doi.org/10.1215/21582025-10048222","url":null,"abstract":"\u0000 This article explores the diffusion and productions of commercial studio photography in South India (Tamil Nadu) from the time the first Indian-run studios opened in the 1880s up to the demise of analog photography—and thereby of many family-run studios—a century later. The particular focus of the article is on research carried out to constitute the stars.archive (Studies in Tamil Studio Archives and Society), the first digital archive of Tamil studio photography, which includes around forty-two thousand photographic images digitized inside studios, private homes, and secondhand shops all over Tamil Nadu. Through examination of the archive, the article suggests that a history of photography in this region needs to attend more closely to the specificities of appropriation of the photographic apparatus and its social uses by sourcing empirical data outside institutional archives. A closer examination of the content of the stars.archive reveals the diversification over time of the social uses of studio photography, far beyond the ubiquitous “studio portrait.”","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132786267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1215/21582025-10048202
K. Strassler
This article offers an introduction to the “image-event” as both concept and method through a focus on the circulation of images around the killing of George Floyd. It examines how these images reverberated and resonated in West Papua, a restive region of Indonesia that has been the site of a long-standing separatist movement. It critically examines a celebratory media discourse that sees the US-based Black Lives Matter movement as expanding outward to spark similar movements elsewhere, a logic that reiterates long-standing colonialist narratives that figure places like Papua as backwaters belatedly receiving and imitatively taking up ideas that flow from the metropole outward. Questioning such assumptions, the article suggests that attention to image-events and the art of resonance can better reveal the ways that long-standing global asymmetries affect the flow of images and the course of political action.
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