Pub Date : 2022-07-03DOI: 10.1080/17514517.2022.2150128
Yang Qiao
Abstract This essay investigates a certain type of archival photographs – photographic records of music and performing scenes – included in The Complete Works of Zhuang Xueben, published by Zhonghua Book Company in 2009. Born in 1909 and died in 1984, Zhuang has widely been recognized as a pioneering figure of documentary photography and visual anthropology in China, whose photographic and written records of indigenous groups in Xikang (now parts of Tibet Autonomous Region and Sichuan Province) have won him significant reputation throughout the Republic of China and the People’s Republic of China eras. The Complete Works contains more than 3,200 photographs he took during his several ethnological fieldworks between 1934 to the 1950s, involving indigenous people belonging to Tibetan, Qiang, Hui and Tu ethnicities. The purpose of sorting out and re-organizing the music-themed photographs in The Complete Works is to respond to recent debates among Chinese academics over Zhuang Xueben’s photography. It uses music iconography as its method of analysis, guiding the reader to grasp the “rhythms” embedded in these “musical images”.
{"title":"For Those Who Played: Representing Indigenous Music in The Complete Works of Zhuang Xueben","authors":"Yang Qiao","doi":"10.1080/17514517.2022.2150128","DOIUrl":"https://doi.org/10.1080/17514517.2022.2150128","url":null,"abstract":"Abstract This essay investigates a certain type of archival photographs – photographic records of music and performing scenes – included in The Complete Works of Zhuang Xueben, published by Zhonghua Book Company in 2009. Born in 1909 and died in 1984, Zhuang has widely been recognized as a pioneering figure of documentary photography and visual anthropology in China, whose photographic and written records of indigenous groups in Xikang (now parts of Tibet Autonomous Region and Sichuan Province) have won him significant reputation throughout the Republic of China and the People’s Republic of China eras. The Complete Works contains more than 3,200 photographs he took during his several ethnological fieldworks between 1934 to the 1950s, involving indigenous people belonging to Tibetan, Qiang, Hui and Tu ethnicities. The purpose of sorting out and re-organizing the music-themed photographs in The Complete Works is to respond to recent debates among Chinese academics over Zhuang Xueben’s photography. It uses music iconography as its method of analysis, guiding the reader to grasp the “rhythms” embedded in these “musical images”.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"303 - 312"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47073022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/17514517.2022.2121480
Yunchang Yang
Abstract As the first part of a long history-ethnography dedicated to amateur photography in China – an understudied, yet impactful, visual culture within the country’s modern history and contemporary society – this article provides a historical account of the shifts in the definition of ‘amateurism’ in Chinese social, cultural, and ideological scenes from the 1840 s to the present. It argues that the idea(l) of amateurism is rooted in traditional Chinese cultural elites and representative of an avant-garde spirit, which was invested in photographic practices before the technology was popularized in China in the 1980s. The article also identifies how a new kind of photographic amateurism began to develop with the rise of the urban middle class in the 1980s. Today, photography embodies the thriving mass culture and has become ubiquitous in ordinary people’s everyday lives as a medium that empowers the invisible to emerge and the muted to speak.
{"title":"Amateurism: An Alternative Narrative of Photography in China, Part I","authors":"Yunchang Yang","doi":"10.1080/17514517.2022.2121480","DOIUrl":"https://doi.org/10.1080/17514517.2022.2121480","url":null,"abstract":"Abstract As the first part of a long history-ethnography dedicated to amateur photography in China – an understudied, yet impactful, visual culture within the country’s modern history and contemporary society – this article provides a historical account of the shifts in the definition of ‘amateurism’ in Chinese social, cultural, and ideological scenes from the 1840 s to the present. It argues that the idea(l) of amateurism is rooted in traditional Chinese cultural elites and representative of an avant-garde spirit, which was invested in photographic practices before the technology was popularized in China in the 1980s. The article also identifies how a new kind of photographic amateurism began to develop with the rise of the urban middle class in the 1980s. Today, photography embodies the thriving mass culture and has become ubiquitous in ordinary people’s everyday lives as a medium that empowers the invisible to emerge and the muted to speak.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"227 - 254"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48246589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/17514517.2022.2142015
Yining He
Abstract This essay focuses on an aspect of photographic practices that are often seen but seldom discussed in contemporary Chinese photography: the creative practices that focus on the relationship (e.g. complementarity and contrast) between text and image. Concerning the traditions of Chinese literati painting, contemporary semiotic theories from the West, and the development of narratologies, this essay examines the works of several contemporary photographic artists in China that combine text and image. More specifically, it focuses on the theoretical framework behind the diverse practices of the twenty-first century. It addresses three main topics: the traditions of Chinese literati painting (which includes poetry, calligraphy, painting, and seal carving), Roland Barthes’ semiotic theory and its application in the visual world, and the theories and paradigms of storytelling in the evolution of narratology into its newer form. In addition, the essay explores how text and image theories and paradigms of different origins exist in contemporary art practices, as well as how they have extended the meanings of these works through the complementarity and conflict between text and image.
{"title":"Extension of Meanings: Text and Image in Contemporary Chinese Photographic Works","authors":"Yining He","doi":"10.1080/17514517.2022.2142015","DOIUrl":"https://doi.org/10.1080/17514517.2022.2142015","url":null,"abstract":"Abstract This essay focuses on an aspect of photographic practices that are often seen but seldom discussed in contemporary Chinese photography: the creative practices that focus on the relationship (e.g. complementarity and contrast) between text and image. Concerning the traditions of Chinese literati painting, contemporary semiotic theories from the West, and the development of narratologies, this essay examines the works of several contemporary photographic artists in China that combine text and image. More specifically, it focuses on the theoretical framework behind the diverse practices of the twenty-first century. It addresses three main topics: the traditions of Chinese literati painting (which includes poetry, calligraphy, painting, and seal carving), Roland Barthes’ semiotic theory and its application in the visual world, and the theories and paradigms of storytelling in the evolution of narratology into its newer form. In addition, the essay explores how text and image theories and paradigms of different origins exist in contemporary art practices, as well as how they have extended the meanings of these works through the complementarity and conflict between text and image.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"279 - 296"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49295321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-23DOI: 10.1080/17514517.2022.2069649
In-Seon Kang
Abstract Manchuria (also known as Manchukuo) was a puppet state established by Japanese empire after the Mukden Incident on September 18, 1931. From its genesis, Manchuria sought to create a positive image of itself both for domestic Japanese and international audiences. This paper focuses on Manshū gurafu (Manchuria Graph), a magazine published by the South Manchuria Rail Company. The magazine is important as a specialist photographic publication and has recently received much attention, particularly thanks to the fact that it was edited by well-known Japanese photographer Fuchikami Hakuyō. This article focuses on images of the colonized, specifically examining visual representations of Koreans residing in Manchuria and other travel-related photography. In this way, the article demonstrates how photographic images of Koreans in Manchuria happen to reveal conflicts within Manchurian state ideology, including the concept of Harmony among Five Races. Also addressed are the ways in which the visual mechanism of photomontage visualized both the symbolic meaning and inherent conflicts of the notion of multiethnicity in Manchuria.
{"title":"“Multiethnic Pioneers”: Representation of Korean Agrarian Villages in Manshū gurafu and the Vision of a Multiethnic State","authors":"In-Seon Kang","doi":"10.1080/17514517.2022.2069649","DOIUrl":"https://doi.org/10.1080/17514517.2022.2069649","url":null,"abstract":"Abstract Manchuria (also known as Manchukuo) was a puppet state established by Japanese empire after the Mukden Incident on September 18, 1931. From its genesis, Manchuria sought to create a positive image of itself both for domestic Japanese and international audiences. This paper focuses on Manshū gurafu (Manchuria Graph), a magazine published by the South Manchuria Rail Company. The magazine is important as a specialist photographic publication and has recently received much attention, particularly thanks to the fact that it was edited by well-known Japanese photographer Fuchikami Hakuyō. This article focuses on images of the colonized, specifically examining visual representations of Koreans residing in Manchuria and other travel-related photography. In this way, the article demonstrates how photographic images of Koreans in Manchuria happen to reveal conflicts within Manchurian state ideology, including the concept of Harmony among Five Races. Also addressed are the ways in which the visual mechanism of photomontage visualized both the symbolic meaning and inherent conflicts of the notion of multiethnicity in Manchuria.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"129 - 150"},"PeriodicalIF":0.3,"publicationDate":"2022-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48936976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-19DOI: 10.1080/17514517.2022.2059920
Richard Smith
During the UK lockdowns and days of isolation I retreated to my temporary home studio in Norfolk, to continue a project originally started in 2019, initially titled The Unknowing...X (playing myself/selves). A project that builds upon an established internationally recognized practice as a photographic artist where the work could only be described as autobiographical. This practice has resulted in a sustained and focused body of work since 1994 when I was diagnosed HIV positive. Since that point, I have used myself almost entirely as the sole figure in the images, a way of articulating my experience as a person living with HIV. Developing a personal narrative for nearly three decades now, one that resists a definition of the medicalization of the body. We might think here of work by Mark Morrisroe or DavidWojnarowicz, although I have been very fortunate to have lived so long. Initially told I had a life expectancy of approximately ten years or less, twenty-eight years later and with a normal life expectancy, I find myself reviewing and rewriting the self to articulate potential future(s). Playing myself/selves is my most autobiographical project to to date, and marks a significant shift in the methodology for producing work and was originally an attempt to move away from the narrative of HIV. A playful and joyous process, although with outcomes that could be said to have a brooding, underlying dark humor about them. This new process of working I call ‘unknowing’ has led to a subconscious act of image making, drawing on previous lives lived, memories, and the influences that have shaped my practice and my world, telling the story of my life through a series of self-portraits. A form of playing the different selves and personas inhabited through my life. This process required delving into a massive adult dressing up box, creating multiple new individual personas to imagine what the future might hold. On reflection, rather than moving away from HIV I can clearly see the project builds on and responds to the success of the medication that, as I fast approach sixty, I’m able to be thinking about retirement and a life beyond. In the images I’m playing at being myself or more accurately a mash up of previous roles. The process in making the new work was a shift away from planned and researched outcomes of previous projects to literally in habiting a space of ‘not knowing’. Not just not
{"title":"Days of Isolation: Queering a Pandemic - Playing Myself/Selves","authors":"Richard Smith","doi":"10.1080/17514517.2022.2059920","DOIUrl":"https://doi.org/10.1080/17514517.2022.2059920","url":null,"abstract":"During the UK lockdowns and days of isolation I retreated to my temporary home studio in Norfolk, to continue a project originally started in 2019, initially titled The Unknowing...X (playing myself/selves). A project that builds upon an established internationally recognized practice as a photographic artist where the work could only be described as autobiographical. This practice has resulted in a sustained and focused body of work since 1994 when I was diagnosed HIV positive. Since that point, I have used myself almost entirely as the sole figure in the images, a way of articulating my experience as a person living with HIV. Developing a personal narrative for nearly three decades now, one that resists a definition of the medicalization of the body. We might think here of work by Mark Morrisroe or DavidWojnarowicz, although I have been very fortunate to have lived so long. Initially told I had a life expectancy of approximately ten years or less, twenty-eight years later and with a normal life expectancy, I find myself reviewing and rewriting the self to articulate potential future(s). Playing myself/selves is my most autobiographical project to to date, and marks a significant shift in the methodology for producing work and was originally an attempt to move away from the narrative of HIV. A playful and joyous process, although with outcomes that could be said to have a brooding, underlying dark humor about them. This new process of working I call ‘unknowing’ has led to a subconscious act of image making, drawing on previous lives lived, memories, and the influences that have shaped my practice and my world, telling the story of my life through a series of self-portraits. A form of playing the different selves and personas inhabited through my life. This process required delving into a massive adult dressing up box, creating multiple new individual personas to imagine what the future might hold. On reflection, rather than moving away from HIV I can clearly see the project builds on and responds to the success of the medication that, as I fast approach sixty, I’m able to be thinking about retirement and a life beyond. In the images I’m playing at being myself or more accurately a mash up of previous roles. The process in making the new work was a shift away from planned and researched outcomes of previous projects to literally in habiting a space of ‘not knowing’. Not just not","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"463 - 478"},"PeriodicalIF":0.3,"publicationDate":"2022-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44610018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-09DOI: 10.1080/17514517.2022.2064128
Ollie Gapper
With almost terrible prescience, Documents from the Edges of Conflict, a show curated by Jean Wainwright and Steffi Klenz, will close its doors to a world very different to the one it opened to just three months earlier. While it is tempting to phrase this in terms of before and after the invasion of Ukraine, to do so would be, as demonstrated by many works within the show, far too simplistic. What much of the works on display in Documents from the Edges of Conflict do in fact is highlight that we are not on the edges of the start or end of conflict in a temporal sense, but that we are on the edges in terms of conscious perception; war, since at least the Bush administration, has been a continuous process of ‘indirect’ engagement, neatly contained to an arena just outside the peripheries of our daily lives. Russia’s invasion of Ukraine represents the rupturing of this boundary, bringing into horrifying visible reality the grim spectacle of war once again. What Wainwright and Klenz have done here in the James Hockey Gallery is curate a show that challenges the artifice of peace we surround ourselves with – for, to acknowledge the absurd and continuous presence of war all around us would be to destabilise the structure upon which we rationalise our day-to-day lives. Entering the space, one is first struck by the myriad of complex sightlines matched only by the tableaux of the show as a whole; from Santiago Sierra’s huge images peeping from behind the wall on which Catherine Yass’s glowing light box sits, to the concrete structure delivered by Klenz’s austere black and white works and the spatially luxurious David Birkin pieces, the show is a slick curation and it’s not afraid to show it. That’s not to shun it to the realms of an aesthetic-forward arrangement however, its aesthetic sensibilities acting as support for the conceptual intelligence of both its arrangement and design. Questions of photographic veracity and authenticity flood the opening space, which echoes with the sound of EDL and British nationalist protest mobs, courtesy of MacDonaldStrand’s three screen installation No More Flags, 2021 – a three piece video work which crudely removes flags from images of far-right protests in a bid to remove the rhetoric of patriotism and nationalism from the justification of mob violence, conditioning the space with the aggressive toxicity of its score from the moment one enters. The resonance between this ringing chorus of aggression and xenophobic hatred and Steffi Klenz’s Beun, is impossible
由吉恩·温赖特(Jean Wainwright)和斯特菲·克伦茨(Steffi Klenz)策划的展览《冲突边缘的文件》(Documents from the edge of Conflict)将以近乎可怕的先见之明，向一个与三个月前开幕时截然不同的世界关上大门。虽然从入侵乌克兰之前和之后的角度来表述这一点很诱人，但正如展览中的许多作品所展示的那样，这样做太过简单。在《冲突边缘的文件》中展出的大部分作品实际上强调的是我们并不是在时间意义上处于冲突开始或结束的边缘，而是在意识感知方面处于边缘;至少从布什政府以来，战争一直是一个持续的“间接”交战过程，被巧妙地限制在我们日常生活外围之外的舞台上。俄罗斯对乌克兰的入侵代表着这一边界的破裂，将战争的残酷景象再次带入可怕的可见现实。温赖特和克伦茨在詹姆斯曲棍球画廊所做的是策划一场展览，挑战我们周围的和平技巧——因为，承认我们周围战争的荒谬和持续存在将破坏我们日常生活合理化的结构。进入这个空间，人们首先被无数复杂的视线所震撼，这些视线与整个展览的场景相匹配;从圣地亚哥·塞拉(Santiago Sierra)从墙后窥视凯瑟琳·亚斯(Catherine Yass)发光的灯箱，到克伦茨(Klenz)简朴的黑白作品和空间奢华的大卫·伯金(David Birkin)作品所呈现的混凝土结构，这场展览是一场巧妙的策展，而且不怕展示。这并不是说要把它回避到美学前沿的领域，然而，它的美学敏感性为它的安排和设计的概念智能提供了支持。摄影真实性和真实性的问题充斥着开放空间，与EDL和英国民族主义抗议暴徒的声音相呼应，由MacDonaldStrand的三个屏幕装置No More Flags, 2021 -一个三件视频作品，粗糙地从极右翼抗议图像中移除旗帜，以消除爱国主义和民族主义的言辞，从暴徒暴力的理由中移除。从你进入的那一刻起，就用它的侵略性毒性来调节空间。这种侵略和仇外仇恨的响亮合唱与Steffi Klenz的Beun之间的共鸣是不可能的
{"title":"Documents from the Edges of Conflict","authors":"Ollie Gapper","doi":"10.1080/17514517.2022.2064128","DOIUrl":"https://doi.org/10.1080/17514517.2022.2064128","url":null,"abstract":"With almost terrible prescience, Documents from the Edges of Conflict, a show curated by Jean Wainwright and Steffi Klenz, will close its doors to a world very different to the one it opened to just three months earlier. While it is tempting to phrase this in terms of before and after the invasion of Ukraine, to do so would be, as demonstrated by many works within the show, far too simplistic. What much of the works on display in Documents from the Edges of Conflict do in fact is highlight that we are not on the edges of the start or end of conflict in a temporal sense, but that we are on the edges in terms of conscious perception; war, since at least the Bush administration, has been a continuous process of ‘indirect’ engagement, neatly contained to an arena just outside the peripheries of our daily lives. Russia’s invasion of Ukraine represents the rupturing of this boundary, bringing into horrifying visible reality the grim spectacle of war once again. What Wainwright and Klenz have done here in the James Hockey Gallery is curate a show that challenges the artifice of peace we surround ourselves with – for, to acknowledge the absurd and continuous presence of war all around us would be to destabilise the structure upon which we rationalise our day-to-day lives. Entering the space, one is first struck by the myriad of complex sightlines matched only by the tableaux of the show as a whole; from Santiago Sierra’s huge images peeping from behind the wall on which Catherine Yass’s glowing light box sits, to the concrete structure delivered by Klenz’s austere black and white works and the spatially luxurious David Birkin pieces, the show is a slick curation and it’s not afraid to show it. That’s not to shun it to the realms of an aesthetic-forward arrangement however, its aesthetic sensibilities acting as support for the conceptual intelligence of both its arrangement and design. Questions of photographic veracity and authenticity flood the opening space, which echoes with the sound of EDL and British nationalist protest mobs, courtesy of MacDonaldStrand’s three screen installation No More Flags, 2021 – a three piece video work which crudely removes flags from images of far-right protests in a bid to remove the rhetoric of patriotism and nationalism from the justification of mob violence, conditioning the space with the aggressive toxicity of its score from the moment one enters. The resonance between this ringing chorus of aggression and xenophobic hatred and Steffi Klenz’s Beun, is impossible","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"191 - 197"},"PeriodicalIF":0.3,"publicationDate":"2022-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47503231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/17514517.2022.2085947
N. Qiao
Publications dedicated to cinema in China can be traced back to 1921. They were primarily produced in Shanghai, as the film industries in Hong Kong and Taiwan were still up-and-coming at the time (Yeh 2018, 20). These Shanghai publications continued to evolve and develop over the next 28 years, heralding a period of maturity and prosperity marked by unique visual styles in the beginning of the 1930s, which formed a substantial tradition in both the industry and academia. The three giants of Chinese film publications at the time were Lianhua Pictorial联华画报, Star Monthly明星月报, and The Chinese Movie Stars Grand View中国电 影明星大观. Among these publications, Lianhua Pictorial and Star Monthly were periodicals with significant publicity, with the former producing 150 books in 152 issues (Ding 2013,132–137) from January 1933 to August 1937 and the latter remaining highly active from April 1935 to July 1937 (Ding 2013, 133). Both periodicals ultimately ceased publication, likely due to the deteriorating Sino-Japanese relationship that ended in warfare. The Chinese Movie Stars Grand View, which was published by The Yisheng Press艺声 in 1935, was edited by the famous Chinese photographer Chen Jiazhen陈嘉震. It systematically introduced Chinese film actors and directors and included life and stage photos of movie stars from 13 major film companies, including The Stars, Lianhua, Yihua艺华, Tianyi天一, and Xinhua新华 (Shanghai Library 2009, 60). This short essay investigates historical photographs from these three primary publications in the early history of Chinese cinema. They are held as collections in the Republic of China’s Periodical Full-text Database (1911–1949) maintained by the Shanghai Library. This database contains more than 25,000 journals published during the time of the Republic of China and nearly 1,000 documents reflecting the political, military, diplomatic, economic, educational, ideological, cultural, and religious entities of
{"title":"Photographs in Chinese Film Publications in the 1930s: Archives from the Republic of China Periodicals Full-Text Database (1911–1949)","authors":"N. Qiao","doi":"10.1080/17514517.2022.2085947","DOIUrl":"https://doi.org/10.1080/17514517.2022.2085947","url":null,"abstract":"Publications dedicated to cinema in China can be traced back to 1921. They were primarily produced in Shanghai, as the film industries in Hong Kong and Taiwan were still up-and-coming at the time (Yeh 2018, 20). These Shanghai publications continued to evolve and develop over the next 28 years, heralding a period of maturity and prosperity marked by unique visual styles in the beginning of the 1930s, which formed a substantial tradition in both the industry and academia. The three giants of Chinese film publications at the time were Lianhua Pictorial联华画报, Star Monthly明星月报, and The Chinese Movie Stars Grand View中国电 影明星大观. Among these publications, Lianhua Pictorial and Star Monthly were periodicals with significant publicity, with the former producing 150 books in 152 issues (Ding 2013,132–137) from January 1933 to August 1937 and the latter remaining highly active from April 1935 to July 1937 (Ding 2013, 133). Both periodicals ultimately ceased publication, likely due to the deteriorating Sino-Japanese relationship that ended in warfare. The Chinese Movie Stars Grand View, which was published by The Yisheng Press艺声 in 1935, was edited by the famous Chinese photographer Chen Jiazhen陈嘉震. It systematically introduced Chinese film actors and directors and included life and stage photos of movie stars from 13 major film companies, including The Stars, Lianhua, Yihua艺华, Tianyi天一, and Xinhua新华 (Shanghai Library 2009, 60). This short essay investigates historical photographs from these three primary publications in the early history of Chinese cinema. They are held as collections in the Republic of China’s Periodical Full-text Database (1911–1949) maintained by the Shanghai Library. This database contains more than 25,000 journals published during the time of the Republic of China and nearly 1,000 documents reflecting the political, military, diplomatic, economic, educational, ideological, cultural, and religious entities of","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"203 - 214"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45372844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-07DOI: 10.1080/17514517.2022.2037838
S. Fatović-Ferenčić, M. Kuhar
Abstract The collection of Vladimir Ćepulić’s photographs named The Housing Misery in Zagreb, with wagon apartments as one of its main themes, documents the perception of tuberculosis, particularly its epidemiological aspect, between the two world wars. The representation of tuberculosis as a threat is realized in these photographs through the demonstration of dire housing conditions in which parts of Zagreb’s poverty-stricken population resided. Ćepulić’s photographs are discussed in this paper in relation to the history of public health research and its implications for social work. By publishing and exhibiting these photographs, Ćepulić insisted on raising the public consciousness about potential focal points of tuberculosis and its means of spreading. His ultimate goal was to improve the housing conditions, develop the city infrastructure and curb poverty. The new concept of protecting the health through prevention and broader societal changes is underscored in photography as the ever more popular method used in public health campaigns. The preserved collection of photographs is a unique document of this phase of Zagreb’s history and a pioneering effort in social photography.
Vladimir Ćepulić的摄影集《萨格勒布的住房苦难》，以马车公寓为主题，记录了两次世界大战之间对结核病的看法，特别是其流行病学方面。在这些照片中，通过展示萨格勒布部分贫困人口居住的恶劣住房条件，实现了结核病作为一种威胁的表现。Ćepulić的照片是讨论在这篇论文中有关公共卫生研究的历史及其对社会工作的影响。通过出版和展出这些照片，Ćepulić坚持提高公众对结核病潜在焦点及其传播途径的意识。他的最终目标是改善住房条件，发展城市基础设施，遏制贫困。通过预防和更广泛的社会变革来保护健康的新概念在摄影中被强调为公共卫生运动中越来越流行的方法。保存下来的照片集是萨格勒布这一阶段历史的独特文件，也是社会摄影的先驱。
{"title":"“We Live in a Wagon Never Going Anywhere:” The Representations of Housing Conditions and Tuberculosis in Zagreb between the Two World Wars","authors":"S. Fatović-Ferenčić, M. Kuhar","doi":"10.1080/17514517.2022.2037838","DOIUrl":"https://doi.org/10.1080/17514517.2022.2037838","url":null,"abstract":"Abstract The collection of Vladimir Ćepulić’s photographs named The Housing Misery in Zagreb, with wagon apartments as one of its main themes, documents the perception of tuberculosis, particularly its epidemiological aspect, between the two world wars. The representation of tuberculosis as a threat is realized in these photographs through the demonstration of dire housing conditions in which parts of Zagreb’s poverty-stricken population resided. Ćepulić’s photographs are discussed in this paper in relation to the history of public health research and its implications for social work. By publishing and exhibiting these photographs, Ćepulić insisted on raising the public consciousness about potential focal points of tuberculosis and its means of spreading. His ultimate goal was to improve the housing conditions, develop the city infrastructure and curb poverty. The new concept of protecting the health through prevention and broader societal changes is underscored in photography as the ever more popular method used in public health campaigns. The preserved collection of photographs is a unique document of this phase of Zagreb’s history and a pioneering effort in social photography.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"109 - 128"},"PeriodicalIF":0.3,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47433498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-04DOI: 10.1080/17514517.2021.2004706
Anna Gielas
{"title":"John Møller’s ‘Photographic Memory’ – Professional Photography of Greenlandic Inuit and Danish Administrators at the Turn of the Twentieth Century","authors":"Anna Gielas","doi":"10.1080/17514517.2021.2004706","DOIUrl":"https://doi.org/10.1080/17514517.2021.2004706","url":null,"abstract":"","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"199 - 201"},"PeriodicalIF":0.3,"publicationDate":"2022-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47773167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/17514517.2022.2054609
Lee Mackinnon
Abstract This paper explores the presentation of a contentious image in the space of an international classroom. The image, known as Tank Man, has come to signify much more than the student pro-democracy protests, and subsequent government response in Beijing’s Tiananmen Square in 1989. Seen by the West to exemplify a ‘moral bottom-line’ regarding China’s human rights abuses, it has been subsequently banned in China. How might presentation of this image be problematic for those students compromised by what they should not see? What are the limits of ‘academic freedom’ in such situations? The issue of whether to reproduce the image in this article serves as an interesting case in point. We develop a practice of unseeing that may help us understand how an image can reduce complex historical relations to a divisive symbol of national interest. We consider the West’s own hypocrisy in its reference to China’s human rights record through an image that often remains only partially analyzed by those who claim to see it.
{"title":"‘Unseeing’ Photography: Academic Freedom and Human Rights after Tiananmen","authors":"Lee Mackinnon","doi":"10.1080/17514517.2022.2054609","DOIUrl":"https://doi.org/10.1080/17514517.2022.2054609","url":null,"abstract":"Abstract This paper explores the presentation of a contentious image in the space of an international classroom. The image, known as Tank Man, has come to signify much more than the student pro-democracy protests, and subsequent government response in Beijing’s Tiananmen Square in 1989. Seen by the West to exemplify a ‘moral bottom-line’ regarding China’s human rights abuses, it has been subsequently banned in China. How might presentation of this image be problematic for those students compromised by what they should not see? What are the limits of ‘academic freedom’ in such situations? The issue of whether to reproduce the image in this article serves as an interesting case in point. We develop a practice of unseeing that may help us understand how an image can reduce complex historical relations to a divisive symbol of national interest. We consider the West’s own hypocrisy in its reference to China’s human rights record through an image that often remains only partially analyzed by those who claim to see it.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"77 - 89"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47199445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：