國立虎尾科技大學 |

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

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	The Photographer Under Pressure :/
Reminder of title:	Nakahira Takuma as a Body in the World, 1968-1977.
Author:	Abbe, Daniel Pease.
Description:	1 online resource (330 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-04, Section: A.
Contained By:	Dissertations Abstracts International85-04A.
Subject:	Art history. -
Online resource:	click for full text (PQDT)
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. - 1 online resource (330 pages)

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

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

Includes bibliographical references

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, 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.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798380588126Subjects--Topical Terms:

1180038
Art history.
Subjects--Index Terms:

Takuma, NakahiraIndex Terms--Genre/Form:

554714
Electronic books.

The Photographer Under Pressure : = Nakahira Takuma as a Body in the World, 1968-1977.
LDR:03681ntm a22003977 4500 001 1146996
005 20240819061925.5
006 m o d
007 cr bn ---uuuuu
008 250605s2023 xx obm 000 0 eng d
020 $a 9798380588126
035 $a (MiAaPQ)AAI30689008
035 $a AAI30689008
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Abbe, Daniel Pease. $3 1472578
245 1 4 $a The Photographer Under Pressure : $b Nakahira Takuma as a Body in the World, 1968-1977.
264 0 $c 2023
300 $a 1 online resource (330 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
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.
504 $a Includes bibliographical references
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, 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.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a Art history. $3 1180038
650 4 $a Art criticism. $3 576960
650 4 $a Asian studies. $3 1179577
653 $a Takuma, Nakahira
653 $a History of photography
653 $a Media theory
653 $a Okinawa
653 $a Photographer
655 7 $a Electronic books. $2 local $3 554714
690 $a 0377
690 $a 0365
690 $a 0342
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a University of California, Los Angeles. $b Art History 0093. $3 1195738
773 0 $t Dissertations Abstracts International $g 85-04A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30689008 $z click for full text (PQDT)