具体描述
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.
用户评价
##任何新來的（exotic）的事物都會經歷著陸，生根和延發的過程，只有在本生文化中尋求到理解才能最終超脫于本生文化的土壤，攝影也不例外。巫鴻這本書更像是會議集（conference proceedings），而文章全是他一人主導，所以像是他一個人的會議。他採取case study，大致是以時間的順序作為安排，揭示了攝影在中國的歷史的若乾面向，如何最初在本土通過重新表達既定而長存的題材，互動，進而迎向在概念上飛躍。推薦給想了解攝影，但又不拘于枯燥的historical survey的讀者。
评分 评分##Informational
评分 评分 评分 评分##这次读的英文，很平白，仍然是时间上远的比近的讲得好…… 收获了一些灵感。
评分##关于摄影的深描可见于此。Reaktion出的《废墟》和《聚焦》两本书，装帧好纸质佳且价格亲民，此前翻译导师的章节也得到了他们编辑的大力支持，真的良心。画外音：想起前几日某诗人的公众号说中国无摄影史，一部《中国摄影史》由外国人写成，介绍的是外国摄影师在中国拍的照片。何其狭隘的观点，简直惨不忍睹。
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