著者

林田 新

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, 2007

著者

林田 新

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.3, pp.154, 2007-12-31 (Released:2017-05-22)

著者

林田 新

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.97-108, 2011-06-30 (Released:2017-05-22)

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INA Nobuo is known as the photo critic who emphasized the medium specificity of photography in his essay "Return to the Photography" in 1932 and who theorized and encouraged the reportage-photography. So researchers regarded his concept of reportage-photography as the consequence of pursuing the nature of photography. But it's a little known fact that he edited the graph-montage entitled "Scoping out the Crisis" on the magazine Hanzai-Kagaku in 1932. Interestingly, he used not only photographs but also some illustrations in his work. The aim of this paper is to re-examine his concept of reportage-photography through discussing the reason why he used some illustrations. In the era of "Ero-Gro-Nonsense" not a few books insert some erotic and exotic images to gratify the reader's desire. In response, rendering the exploring, consuming or looking people by caricatures, and the explored, consumed or looked people by photographs, his graph-montage represents class confrontation and the photography as spectacle negatively, because he assumed that photographs has to be used to convey "thought and emotion" clearly through the printed media. In this way he valued the editing on the printed media more than the property of automatic recording.

著者

林田 新

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.130, 2010-12-31 (Released:2017-05-22)

著者

太田 孝彦 林田 新 村木 桂子 森下 麻衣子 吉田 智美

出版者

同志社大学

雑誌

基盤研究(C)

巻号頁・発行日

2008

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従来、江戸時代絵画は様式を語るのが常で、筆法が果たす機能に注意することはなかった。筆法の機能に注目してみれば、「書と画」の南画家たちにとって筆法修得は「古人になる」王道であり、狩野派が語る粉本の重視は筆法の価値を取り戻そうとする試みだったと解釈できる。こうした筆法重視の観点からは新たなる江戸時代の絵画史が語られることになる。それは従来の「美術」の観点から語っていた江戸時代の絵画史とは別の面を見せることになるだろう。

著者

林田 新

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.97-108, 2011-06-30

---

INA Nobuo is known as the photo critic who emphasized the medium specificity of photography in his essay "Return to the Photography" in 1932 and who theorized and encouraged the reportage-photography. So researchers regarded his concept of reportage-photography as the consequence of pursuing the nature of photography. But it's a little known fact that he edited the graph-montage entitled "Scoping out the Crisis" on the magazine Hanzai-Kagaku in 1932. Interestingly, he used not only photographs but also some illustrations in his work. The aim of this paper is to re-examine his concept of reportage-photography through discussing the reason why he used some illustrations. In the era of "Ero-Gro-Nonsense" not a few books insert some erotic and exotic images to gratify the reader's desire. In response, rendering the exploring, consuming or looking people by caricatures, and the explored, consumed or looked people by photographs, his graph-montage represents class confrontation and the photography as spectacle negatively, because he assumed that photographs has to be used to convey "thought and emotion" clearly through the printed media. In this way he valued the editing on the printed media more than the property of automatic recording.