서브메뉴
검색
The Photographer Under Pressure: Nakahira Takuma as a Body in the World, 1968-1977- [electronic resource]
The Photographer Under Pressure: Nakahira Takuma as a Body in the World, 1968-1977- [electronic resource]
상세정보
- 자료유형
- 학위논문파일 국외
- 최종처리일시
- 20240214101918
- ISBN
- 9798380588126
- DDC
- 709
- 서명/저자
- The Photographer Under Pressure: Nakahira Takuma as a Body in the World, 1968-1977 - [electronic resource]
- 발행사항
- [S.l.]: : University of California, Los Angeles., 2023
- 발행사항
- Ann Arbor : : ProQuest Dissertations & Theses,, 2023
- 형태사항
- 1 online resource(330 p.)
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-04, Section: A.
- 주기사항
- Advisor: Baker, George.
- 학위논문주기
- Thesis (Ph.D.)--University of California, Los Angeles, 2023.
- 사용제한주기
- This item must not be sold to any third party vendors.
- 초록/해제
- 요약Many 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, 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.
- 일반주제명
- Art history.
- 일반주제명
- Art criticism.
- 일반주제명
- Asian studies.
- 키워드
- Takuma, Nakahira
- 키워드
- Media theory
- 키워드
- Okinawa
- 키워드
- Photographer
- 기타저자
- University of California, Los Angeles Art History 0093
- 기본자료저록
- Dissertations Abstracts International. 85-04A.
- 기본자료저록
- Dissertation Abstract International
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
008240612s2023 us |||||||||||||||c||eng d■001000016935320
■00520240214101918
■006m o d
■007cr#unu||||||||
■020 ▼a9798380588126
■035 ▼a(MiAaPQ)AAI30689008
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a709
■1001 ▼aAbbe, Daniel Pease.
■24510▼aThe Photographer Under Pressure: Nakahira Takuma as a Body in the World, 1968-1977▼h[electronic resource]
■260 ▼a[S.l.]:▼bUniversity of California, Los Angeles. ▼c2023
■260 1▼aAnn Arbor :▼bProQuest Dissertations & Theses, ▼c2023
■300 ▼a1 online resource(330 p.)
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-04, Section: A.
■500 ▼aAdvisor: Baker, George.
■5021 ▼aThesis (Ph.D.)--University of California, Los Angeles, 2023.
■506 ▼aThis item must not be sold to any third party vendors.
■520 ▼aMany 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, 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 ▼aSchool code: 0031.
■650 4▼aArt history.
■650 4▼aArt criticism.
■650 4▼aAsian studies.
■653 ▼aTakuma, Nakahira
■653 ▼aHistory of photography
■653 ▼aMedia theory
■653 ▼aOkinawa
■653 ▼aPhotographer
■690 ▼a0377
■690 ▼a0365
■690 ▼a0342
■71020▼aUniversity of California, Los Angeles▼bArt History 0093.
■7730 ▼tDissertations Abstracts International▼g85-04A.
■773 ▼tDissertation Abstract International
■790 ▼a0031
■791 ▼aPh.D.
■792 ▼a2023
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T16935320▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
■980 ▼a202402▼f2024
