東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁 到查詢結果 [ null ]

切換: 標籤 | MARC模式 | ISBD

The Photographer Under Pressure: Nak...

University of California, Los Angeles., Art History 0093.

FindBook

Google Book

Amazon

博客來

The Photographer Under Pressure: Nakahira Takuma as a Body in the World, 1968-1977.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Photographer Under Pressure: Nakahira Takuma as a Body in the World, 1968-1977./
作者:	Abbe, Daniel Pease.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2023,
面頁冊數:	330 p.
附註:	Source: Dissertations Abstracts International, Volume: 85-04, Section: A.
Contained By:	Dissertations Abstracts International85-04A.
標題:	Art history. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30689008
ISBN:	9798380588126

The Photographer Under Pressure: Nakahira Takuma as a Body in the World, 1968-1977.
Abbe, Daniel Pease.

The Photographer Under Pressure: Nakahira Takuma as a Body in the World, 1968-1977. - Ann Arbor : ProQuest Dissertations & Theses, 2023 - 330 p.

Source: Dissertations Abstracts International, Volume: 85-04, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2023.

Many art historical discussions take a philosophical approach to photography, in which the medium becomes an ontological object. This dissertation proceeds instead from the subject of the photographer, understood in phenomenological terms. In particular, I take the photographs and critical essays of the Japanese photographer Nakahira Takuma (1938-2015) as a case study to ask how photographers are bodies in the world. Nakahira stands out for his significant contributions to the politicization of photographic theory and practice, largely during the 1970s. Yet he differs from other artist-critic figures working around the world at this time because he consistently staked his work on corporeal experience. Drawing on the events of 1968, mass media distribution of images, conceptual practices of photography,{A0}Mono-ha art theory and the political situation of Okinawa, Nakahira continuously worked over the question of how bodies relate to the world.Each chapter of this dissertation examines one group of Nakahira's photographs, or one of his essays, to trace the development of his corporeal theory and practice. Chapter 1 introduces photographs that Nakahira published in the second issue of the magazine Provoke, to show why he came to understand bodies in political terms around 1968. Chapter 2 considers the body of the photographer in relation to mass media, capital and state power, through a close reading of "The Illusion Called Document," a 1972 essay that Nakahira wrote in dialogue with contemporary media theory. Chapter 3 positions Nakahira's 1971 Paris installation Circulation within the context of conceptual art and photography. In contrast to such cool indexicality, this work developed the idea of the photographer as a body flowing through the world. Chapter 4 turns to Nakahira's most well-known piece of writing, "Why an Illustrated Botanical Reference Book?" Drawing on phenomenology through the Mono-ha artist Lee Ufan, Nakahira situates the photographer in relation to the world through the embodied notion of "encounter." Chapter 5 examines photographs that Nakahira took on the islands of Amami. The disorientations of photographic space in this series represent a critique at a sensorial level of the colonial relationship between "mainland" Japan and Okinawa.

ISBN: 9798380588126Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Takuma, Nakahira

The Photographer Under Pressure: Nakahira Takuma as a Body in the World, 1968-1977.
LDR:03457nmm a2200385 4500 001 2398900
005 20240819061925.5
006 m o d
007 cr#unu||||||||
008 251215s2023 ||||||||||||||||| ||eng d
020 $a 9798380588126
035 $a (MiAaPQ)AAI30689008
035 $a AAI30689008
040 $a MiAaPQ $c MiAaPQ
100 1 $a Abbe, Daniel Pease. $3 3289299
245 1 0 $a The Photographer Under Pressure: Nakahira Takuma as a Body in the World, 1968-1977.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2023
300 $a 330 p.
500 $a Source: Dissertations Abstracts International, Volume: 85-04, Section: A.
500 $a Advisor: Baker, George.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2023.
520 $a Many art historical discussions take a philosophical approach to photography, in which the medium becomes an ontological object. This dissertation proceeds instead from the subject of the photographer, understood in phenomenological terms. In particular, I take the photographs and critical essays of the Japanese photographer Nakahira Takuma (1938-2015) as a case study to ask how photographers are bodies in the world. Nakahira stands out for his significant contributions to the politicization of photographic theory and practice, largely during the 1970s. Yet he differs from other artist-critic figures working around the world at this time because he consistently staked his work on corporeal experience. Drawing on the events of 1968, mass media distribution of images, conceptual practices of photography,{A0}Mono-ha art theory and the political situation of Okinawa, Nakahira continuously worked over the question of how bodies relate to the world.Each chapter of this dissertation examines one group of Nakahira's photographs, or one of his essays, to trace the development of his corporeal theory and practice. Chapter 1 introduces photographs that Nakahira published in the second issue of the magazine Provoke, to show why he came to understand bodies in political terms around 1968. Chapter 2 considers the body of the photographer in relation to mass media, capital and state power, through a close reading of "The Illusion Called Document," a 1972 essay that Nakahira wrote in dialogue with contemporary media theory. Chapter 3 positions Nakahira's 1971 Paris installation Circulation within the context of conceptual art and photography. In contrast to such cool indexicality, this work developed the idea of the photographer as a body flowing through the world. Chapter 4 turns to Nakahira's most well-known piece of writing, "Why an Illustrated Botanical Reference Book?" Drawing on phenomenology through the Mono-ha artist Lee Ufan, Nakahira situates the photographer in relation to the world through the embodied notion of "encounter." Chapter 5 examines photographs that Nakahira took on the islands of Amami. The disorientations of photographic space in this series represent a critique at a sensorial level of the colonial relationship between "mainland" Japan and Okinawa.
590 $a School code: 0031.
650 4 $a Art history. $3 2122701
650 4 $a Art criticism. $3 526357
650 4 $a Asian studies. $3 1571829
653 $a Takuma, Nakahira
653 $a History of photography
653 $a Media theory
653 $a Okinawa
653 $a Photographer
690 $a 0377
690 $a 0365
690 $a 0342
710 2 $a University of California, Los Angeles. $b Art History 0093. $3 2093383
773 0 $t Dissertations Abstracts International $g 85-04A.
790 $a 0031
791 $a Ph.D.
792 $a 2023
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30689008