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journal contribution
posted on 2017-08-11, 11:07 authored by Marco BohrThis article investigates the role that art photography of in relation to the earthquake and tsunami that hit Japan in March 2011. The article focuses on an ethical and moral debate that emerged amongst Japanese photographers who questioned how the disaster and its aftermath can be, or should, be represented in a photograph. At the forefront of this debate was the photographer Naoya Hatakeyama whose personal connection to the region turned him into a quasi spokesperson for his profession. Through a close reading of his photographic works, the article situates post-tsunami photography in relation to wider photographic trends in Japanese visual culture.
History
School
- The Arts, English and Drama
Department
- Arts
Published in
Journal of Contemporary Chinese ArtCitation
BOHR, M.P., 2016. Naoya Hatakeyama and the photographic representation of Post-Tsunami landscapes in Japan. Journal of Contemporary Chinese Art, 3(3), pp. 355-366.Publisher
© IntellectVersion
- AM (Accepted Manuscript)
Publisher statement
This work is made available according to the conditions of the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) licence. Full details of this licence are available at: https://creativecommons.org/licenses/by-nc-nd/4.0/Acceptance date
2016-12-01Publication date
2016Notes
This paper was accepted for publication in the journal Journal of Contemporary Chinese Art and the definitive published version is available at https://doi.org//10.1386/jcca.3.3.355_1ISSN
2051-7041Publisher version
Language
- en