From the first sets of photographic records made by Western travelers to doctored portraits of Chairman Mao and the avant-garde photographic performances of the post–Cultural Revolution era, photography in China has followed divergent paths. In this book, Wu Hung explores the multiple histories of photographic production in China, using them to tell a larger story about China’s shifting sociopolitical contexts and the different agendas, technologies, and aesthetics that have helped define its arts.
At the center of the book is a large question: how has photography represented China and its people, its collective history and memory as well as the diversity of Chinese artists who have striven for creative expression? To address this question, the author offers an in-depth study of selected photographers, themes, and movements in Chinese photography from 1860 to the present, covering a wide range of genres, including portraiture, photojournalism, architectural and landscape photography, and conceptual photography. Beautifully illustrated, this book offers a multifaceted and in-depth analysis of an important photographic history.
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Wu Hung is Harrie A. Vanderstappen Distinguished Service Professor of Art History, and East Asian Languages and Civilization, at the University of Chicago. Special research interests include relationships between visual forms (architecture, bronze vessels, pictorial carvings and murals, etc.) and ritual, social memory, and political discourses.
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证据的确立只能通过建立系统的影像资料库和对实际影像的内在属性进行细致分析来完成。这种初步的观察既是解构也是重建,它的作用一方面是把历史照片从未经证实的假设中解放出来,另一方面也为重新确立它们的真实历史意义做准备。
最先制造这些虚构身份的可能是米勒本人,而当这些照片开始在市场上流通,不断发行和复制的时候,新的身份和说明又不断添加进来。
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