Voices of Photography 攝影之聲
Issue 18 : 攝影書作為方法
Photobook As Method
本期另專訪台灣影像學者陳學聖，一探他投入多年並於近日發表的攝影史研究——1911至1949 年的民國時期攝影——在這段風雨時代裡發掘攝影藝術的蔓生、攝影畫報的光輝歲月，以及民國攝影在台灣的餘響，並揭載其多本罕見的早期攝影書刊收藏。另外還有兩篇關於攝影書的評論，包括陳佳琦深度評寫攝影家阮義忠近期復返再現的八○年代影像，以及梁秋虹以《韓國攝影史》探討殖民與去殖民的攝影史觀。蕭永盛的「台灣攝影史」系列連載，則從乙未戰爭後日本近衛師團長北白川宮能久登陸台灣的寫真留影，探查日本早年欲以神道主義統治台灣的歷史線索。而在 Artist’s Showcase單元，我們收錄木村伊兵衛攝影獎得主石川竜一的沖繩肖像系列，以及由他自述的沖繩人圖繪與仍在路上的攝影生涯。
As a magazine concerned with the interpretation of images and photography publications, VOP has featured special showcases like the “Taiwan Photobook Issue” in 2012 and “Dialogue On Taiwan Photobook Publishing” in 2014. This year we launch another showcase which explores books to see the development of photography, with the hope of leaving the future with a report on the photography culture of today through discussion and writing.
In preparation of this issue’s showcase, we called for submissions of photography publications in Taiwan last year, which saw a variety of photography books and handmade books from both publishers and individual authors submitted, featuring many facets of photography which would be selected for this issue. At the same time, we invited scholars-cum-critics like Jow-Jiun Gong and Shih-Lun Chang and designer Yung-Chen Nieh to engage in dialogue to critique and comment on aspects such as the visual effects, design, history right up to the publishing market’s direction of growth in Taiwan. Also, we specially put together a feature connecting new photography organizations and publishers from the Asia-Pacific region, such as those from Singapore, Philippines, Japan, China and Australia etc, highlighting the Asia-Pacific viewpoints as a prolific study of regional photography publishing.
This issue carries an interview with photography academic Hsueh-Sheng Chen, looking into a research area which he had spent years on and recently released findings on– Republican Chinese photography from 1911 to 1949, talking about the development of photographic art in this tumultuous period, the glorious years of photography pictorials and the remaining influence of Republican Chinese photography in Taiwan, while sharing his prize collection of rare, early photography publications. Along with this are reviews of photography books, including Chia-Chi Chen’s in-depth critique of I-Jong Juan’s recent efforts to re-present images of the 1980s and Chiu-Hung Liang’s discussion on the perspectives of colonization and de-colonization in photography using A History of Korean Photography. Our feature Yong-Seng Hsiao’s History of Photography in Taiwan series focuses on post-Yi-Wei War Japanese Guards Division chief Kitashirakawanomiya Yoshihisa’s photographs taken after his landing in Taiwan, exploring the history of the tactics of Japanese colonial masters in using Shinto idealism to enhance their rulership of Taiwan. We present Kimura Ihei Memorial Photography Award winner Ryuichi Ishikawa’s series of Okinawan portraits in our Artist’s Showcase, along with his own story on Okinawans’ art and his photography journey.
In addition, we would like to show our special respect to our alternative/independent media veterans, Green Team! Established in 1986, Green Team recorded many social movements on the frontline in post-martial law Taiwan with a handheld video camera, breaking through the controls of speech and perspectives the government and a few mainstream media presented. They helped preserve precious footage of Taiwan’s important social revolutions. In commemoration of Green Team being established 30 years ago, besides screening a series of their past works at the Taiwan International Documentary Festival(TIDF) in May, we also made use of their shots in the making of a mini on-paper documentary in the current issue of SHOUT as well as had the curator of the Documentary Festival, Wood Lin author an article to re-examine Taiwan’s conflict-filled past.
In this issue’s columns, Shih-Lun Chang gives us a detailed critique of director Ya-Li Huang’s documentary which talks about Le Moulin, a literary organization centred around Surrealistic Literature in the period of Japanese rule, while Zheng Gu’s piece makes use of the “World Images” photography exhibition held recently in Switzerland to question inter-relations between modern photography and reality.