Photographies East : the camera and its histories in East and Southeast Asia
著者
書誌事項
Photographies East : the camera and its histories in East and Southeast Asia
(Objects/histories)
Duke University Press, 2009
- : pbk
- : cloth
大学図書館所蔵 全7件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [291]-304) and index
内容説明・目次
内容説明
Introducing Photographies East, Rosalind C. Morris notes that although the camera is now a taken-for-granted element of everyday life in most parts of the world, it is difficult to appreciate "the shock and sense of utter improbability that accompanied the new technology" as it was introduced in Asia (and elsewhere). In this collection, scholars of Asia, most of whom are anthropologists, describe frequent attribution of spectral powers to the camera, first brought to Asia by colonialists, as they examine the transformations precipitated or accelerated by the spread of photography across East and Southeast Asia. In essays resonating across theoretical, historical, and geopolitical lines, they engage with photography in China, Japan, Taiwan, and Thailand, and on the islands of Aru, Aceh, and Java in what is now Indonesia. The contributors analyze how in specific cultural and historical contexts, the camera has affected experiences of time and subjectivity, practices of ritual and tradition, and understandings of death. They highlight the links between photography and power, looking at how the camera has figured in the operations of colonialism, the development of nationalism, the transformation of monarchy, and the militarization of violence. Moving beyond a consideration of historical function or effect, the contributors also explore the forms of illumination and revelation for which the camera has offered itself as instrument and symbol. And they trace the emergent forms of alienation and spectralization, as well as the new kinds of fetishism, that photography has brought in its wake. Taken together, the essays chart a bravely interdisciplinary path to visual studies, one that places the particular knowledge of a historicized anthropology in a comparative frame and in conversation with aesthetics and art history.
Contributors. James L. Hevia, Marilyn Ivy, Thomas LaMarre, Rosalind C. Morris, Nickola Pazderic, John Pemberton, Carlos Rojas, James T. Siegel, Patricia Spyer
目次
Introduction. Photographies East: The Camera and Its Histories in East and Southeast Asia / Rosalind C. Morris 1
The Ghost in the Machine / John Pemberton 29
The Curse of the Photograph: Atjeh 1901 / James T. Siegel 57
The Photography Complex: Exposing Boxer-Era China (1900-1901), Making Civilization / James L. Hevia 79
Photography and the Power of Images in the History of Power: Notes from Thailand / Rosalind C. Morris 121
In and Out of the Picture: Photography, Ritual, and Modernity in Aru, Indonesia / Patricia Spyer 161
Mysterious Photographs / Nickola Pazderic 183
Abandoned Cities Seen Anew: Reflections on Spatial Specificity and Temporal Transience / Carlos Rojas 207
Dark Enlightenment: Naito Masatoshi's Flash / Marilyn Ivy 229
Cine-Photography as Racial Technology: Tanizaki Jun'ichiro's Close-up on the New/Oriental Woman's Face / Thomas LaMarre 259
Bibliography 291
Contributors 305
Index 307
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