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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
Pub Date : 2022-01-02DOI: 10.1080/17514517.2022.2039501
N. Mangalanayagam
Swedish–Danish border, 2009 Shortly before my father passed away, my mother and I took him on a car journey from Sweden to Denmark. We had a nice day in an art gallery by the sea, looked at big houses in the countryside and had a Danish lunch. Approaching the bridge on our way back, going through customs we were waved over to stop. I was driving. My father sat next to me in the front seat. My mother sat behind me. I rolled down the window to hear the policeman. He looked at me, looked at my father and lastly looked at my mother in the back seat. In Swedish, he asked her where we had been, where we were going, what our nationality was. The policeman addressed my mother behind me. It was an awkward conversation. My father sat silent, looking down into his lap, until we were allowed to carry on. I was furious, but knew I would upset my father if I made a scene. For the remaining car journey, I wondered what these interactions had done to the relationship between my parents, my Tamil father and my Danish mother.
{"title":"(De)Colonial Positioning","authors":"N. Mangalanayagam","doi":"10.1080/17514517.2022.2039501","DOIUrl":"https://doi.org/10.1080/17514517.2022.2039501","url":null,"abstract":"Swedish–Danish border, 2009 Shortly before my father passed away, my mother and I took him on a car journey from Sweden to Denmark. We had a nice day in an art gallery by the sea, looked at big houses in the countryside and had a Danish lunch. Approaching the bridge on our way back, going through customs we were waved over to stop. I was driving. My father sat next to me in the front seat. My mother sat behind me. I rolled down the window to hear the policeman. He looked at me, looked at my father and lastly looked at my mother in the back seat. In Swedish, he asked her where we had been, where we were going, what our nationality was. The policeman addressed my mother behind me. It was an awkward conversation. My father sat silent, looking down into his lap, until we were allowed to carry on. I was furious, but knew I would upset my father if I made a scene. For the remaining car journey, I wondered what these interactions had done to the relationship between my parents, my Tamil father and my Danish mother.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44804045","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: 10.1080/17514517.2022.2059294
Yu Jiang, Daniel C. Blight
the for to the camera. complacency
对于相机。自满
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Pub Date : 2022-01-02DOI: 10.1080/17514517.2022.2035984
Kerstin Hacker
Abstract In 1986 Kenyan writer Ngũgĩ wa Thiong’o argued that ‘[t]he choice of language and the use to which language is put is central to a people’s definition of themselves’ (Ngũgĩ 1986:4). This article re-applies Ngũgĩ’s analysis to contemporary African photographic practice, since images are similarly central to people’s self-definition. Collaborating with the Zambian National Visual Arts Council, the practice-research project Stories of Kalingalinga developed a photographic workshop (2019) and exhibition (2020) to counteract Zambia’s lack of institutional engagement with photography. Focused on Kalingalinga, a high-density neighbourhood undergoing gentrification in Zambia’s capital Lusaka, the workshop provided space to experiment in decolonising creative practice through slow action research. As a photographer, animateur and curator from the global north, I present work by Zambian project participants Scotty Jongolo, Danny Chiyesu, Zenzele Chulu, Edith Chiliboy, Natalia Gonzalez Acosta, Margaret Malawo Mumba, Dennis Mubanga Kabwe, David Daut Makala, Muchemwa Sichone and Yande Yombwe. The article discusses the decolonisation of Zambian photography and the workshop’s deepening of my own decolonial photographic practice. I highlight the importance of empowering Zambian photographers through encouraging critically informed image-making in contemporary African photographic practice. African visual self-governance requires building supportive communities that embrace alternative and creative ways of knowledge creation.
{"title":"Us in Relation to the Universe—Collaborative North-South Photographic Practice Research","authors":"Kerstin Hacker","doi":"10.1080/17514517.2022.2035984","DOIUrl":"https://doi.org/10.1080/17514517.2022.2035984","url":null,"abstract":"Abstract In 1986 Kenyan writer Ngũgĩ wa Thiong’o argued that ‘[t]he choice of language and the use to which language is put is central to a people’s definition of themselves’ (Ngũgĩ 1986:4). This article re-applies Ngũgĩ’s analysis to contemporary African photographic practice, since images are similarly central to people’s self-definition. Collaborating with the Zambian National Visual Arts Council, the practice-research project Stories of Kalingalinga developed a photographic workshop (2019) and exhibition (2020) to counteract Zambia’s lack of institutional engagement with photography. Focused on Kalingalinga, a high-density neighbourhood undergoing gentrification in Zambia’s capital Lusaka, the workshop provided space to experiment in decolonising creative practice through slow action research. As a photographer, animateur and curator from the global north, I present work by Zambian project participants Scotty Jongolo, Danny Chiyesu, Zenzele Chulu, Edith Chiliboy, Natalia Gonzalez Acosta, Margaret Malawo Mumba, Dennis Mubanga Kabwe, David Daut Makala, Muchemwa Sichone and Yande Yombwe. The article discusses the decolonisation of Zambian photography and the workshop’s deepening of my own decolonial photographic practice. I highlight the importance of empowering Zambian photographers through encouraging critically informed image-making in contemporary African photographic practice. African visual self-governance requires building supportive communities that embrace alternative and creative ways of knowledge creation.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43786250","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: 10.1080/17514517.2022.2040166
P. Nayar
Abstract This essay examines several photographs taken during the second wave of the COVID-19 pandemic in India in 2021. It argues that the photographs capture an “atmo-terror” (terror from the air). The paper records the evolution of atmo-technics: alongside the dehumanization of the patient/sufferer, acts of resilience were reported and recorded. A “civil contract” of photography may be inferred from them.
{"title":"Pandemic Photography: Images from COVID-19 in India","authors":"P. Nayar","doi":"10.1080/17514517.2022.2040166","DOIUrl":"https://doi.org/10.1080/17514517.2022.2040166","url":null,"abstract":"Abstract This essay examines several photographs taken during the second wave of the COVID-19 pandemic in India in 2021. It argues that the photographs capture an “atmo-terror” (terror from the air). The paper records the evolution of atmo-technics: alongside the dehumanization of the patient/sufferer, acts of resilience were reported and recorded. A “civil contract” of photography may be inferred from them.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48696363","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: 10.1080/17514517.2022.2035985
Gabrielle Moser
Abstract Photography was an instrumental tool in Canada’s Indian Residential School system throughout the first half of the twentieth century, used by the government to promote, obscure, reveal, and conceal the violence directed at Indigenous children in state care. Though these static images—designed to contain their children subjects—failed to rouse civic intervention at the time, they are being revisited in the present as documents of a settler colonial past that needs to be redressed. Reading several of these archival school photographs against contemporary images of the recent toppling of a statue of Egerton Ryerson, one of the architects of the Indian Residential School system, this article considers the reparative work that photographs can perform in the civic imaginary. Drawing on the work of Ariella Aïsha Azoulay, I propose that reparation is an ongoing and unfinished process that mirrors the open and contingent nature of the event of photography: one that is not ‘concluded’ in photographic capture.
{"title":"When Photographs Fail, When Monuments Fall: Photography and Reparations in Canada","authors":"Gabrielle Moser","doi":"10.1080/17514517.2022.2035985","DOIUrl":"https://doi.org/10.1080/17514517.2022.2035985","url":null,"abstract":"Abstract Photography was an instrumental tool in Canada’s Indian Residential School system throughout the first half of the twentieth century, used by the government to promote, obscure, reveal, and conceal the violence directed at Indigenous children in state care. Though these static images—designed to contain their children subjects—failed to rouse civic intervention at the time, they are being revisited in the present as documents of a settler colonial past that needs to be redressed. Reading several of these archival school photographs against contemporary images of the recent toppling of a statue of Egerton Ryerson, one of the architects of the Indian Residential School system, this article considers the reparative work that photographs can perform in the civic imaginary. Drawing on the work of Ariella Aïsha Azoulay, I propose that reparation is an ongoing and unfinished process that mirrors the open and contingent nature of the event of photography: one that is not ‘concluded’ in photographic capture.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43674073","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: 10.1080/17514517.2022.2054189
J. Tran
Abstract Diversity – in the nominal sense of widening access to education beyond majority group interests – is a stated objective for many institutions of higher education worldwide. However, different narratives of national and institutional identity play a role in how programmes of diversity are conceived. In recent university reforms initiated in Japan by MEXT (Japanese Ministry of Education, Culture, Sports, Science and Technology), the drive to internationalize universities through increasing the number of foreign students, faculty and collaborations runs alongside an historical and reactionary othering of rational and critical thinking as “western learning.” By contrast, for universities in the “west” the pursuit of diversity is considered an affirmation of the university as a site of civil and rational discourse, in which the welcoming of different voices is considered in terms of being both a moral imperative and institutional asset. Using Bill Readings’ 1996 critique of the modern university as a bureaucratic corporation, “The University in Ruins” as a reference point, the dissonance between the policy goal of diversity and what may actually happen in a classroom is discussed here from personal experience of teaching the history of photography, and other subjects, in Japanese Universities. Modes of classroom interaction and the role of the teacher, beyond culture-specific models, are interrogated, and finally discussed in relation to a holistic view of education espoused in the teaching methodologies of Charles A. Curran and Caleb Gattegno.
{"title":"Get in: Rhetoric and Realities of Diversity in the Global University","authors":"J. Tran","doi":"10.1080/17514517.2022.2054189","DOIUrl":"https://doi.org/10.1080/17514517.2022.2054189","url":null,"abstract":"Abstract Diversity – in the nominal sense of widening access to education beyond majority group interests – is a stated objective for many institutions of higher education worldwide. However, different narratives of national and institutional identity play a role in how programmes of diversity are conceived. In recent university reforms initiated in Japan by MEXT (Japanese Ministry of Education, Culture, Sports, Science and Technology), the drive to internationalize universities through increasing the number of foreign students, faculty and collaborations runs alongside an historical and reactionary othering of rational and critical thinking as “western learning.” By contrast, for universities in the “west” the pursuit of diversity is considered an affirmation of the university as a site of civil and rational discourse, in which the welcoming of different voices is considered in terms of being both a moral imperative and institutional asset. Using Bill Readings’ 1996 critique of the modern university as a bureaucratic corporation, “The University in Ruins” as a reference point, the dissonance between the policy goal of diversity and what may actually happen in a classroom is discussed here from personal experience of teaching the history of photography, and other subjects, in Japanese Universities. Modes of classroom interaction and the role of the teacher, beyond culture-specific models, are interrogated, and finally discussed in relation to a holistic view of education espoused in the teaching methodologies of Charles A. Curran and Caleb Gattegno.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46011468","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}
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