文献一覧: Japan Society of Image Arts and Sciences (出版者)

4 0 0 0 OA From Magazines to Gallery Walls: Rethinking Fukase Masahisa’s “Ravens” and the Workshop School of Photography in 1976 Japan

著者: Elise VOYAU
出版者: Japan Society of Image Arts and Sciences
雑誌: 映像学 (ISSN:02860279)
巻号頁・発行日: vol.104, pp.219-241, 2020-07-25 (Released:2020-08-25)

In the 1970s, Japanese photography underwent crucial changes, which allowed it to grow into a significant field in today’s global art scene. By comparing a major photographic series of the time——Fukase Masahisa’s “Ravens” (1976-1982)——and the activities of the Workshop School of Photography (1974-1976), this article suggests that these changes materialized around the concept of the original print, and the passage from the printed medium to the exhibition medium. From here this article particularly seeks to understand the theoretical context of the debates that these changes sparked in post 1968 Japan.

2020-09-30 00:30:20
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2 0 0 0 OA The Revival of "Gentou" (magic lantern, filmstrips, slides) in Showa Period Japan:

著者: 鷲谷花
出版者: Japan Society of Image Arts and Sciences
雑誌: Iconics (ISSN:13454447)
巻号頁・発行日: vol.11, pp.27-46,58, 2014-04-10 (Released:2019-08-08)
参考文献数: 27

In Japanese, "gentou" (magic lantern, slide, filmstrip) means visual media projecting still images onto screen. In Japan, gentou had first thrived during the Meiji period and revived in the Showa period from war-time to post war 1950s. In both case, gentou had been introduced as "educational media" for school, social and home education, with the recommendation of the Ministry of Education and some authorities of education for the first time. However, since the entering into force of the Treaty of Peace with Japan in 1952, gentou also flourished as grass-roots media within several social movements like labor disputes, anti-basement movements, anti-nuclear movements, and utagoe movement. In this article, I try to explore the possibility of the independent history of gentou, without subordinating it to the history of other media like cinema, photography, or fine arts. Especially, I would like to focus on the 1950s independent gentou production and screening within social movements. During 1950s, social activists often produced original gentou films for the purpose of documenting and propagating their activities, and tried to establish the public sphere for "the exchange of experiences" through gentou screenings. Analyzing newly found materials like films and scripts of these 1950s grass-roots gentou movements I would like to clarify how these gentou films, with their peculiar characteristics, created sense of "the exchange of experiences" among their audience.

2 0 0 0 OA The "Eternal Virgin" Reconsidered:

著者: 菅野優香
出版者: Japan Society of Image Arts and Sciences
雑誌: Iconics (ISSN:13454447)
巻号頁・発行日: vol.10, pp.97-118, 2010-03-31 (Released:2019-08-07)
参考文献数: 44

1 0 0 0 OA The Magic Lantern Show and Its Spectators during Late Nineteenth-Century Japan:

著者: 大久保遼
出版者: Japan Society of Image Arts and Sciences
雑誌: Iconics (ISSN:13454447)
巻号頁・発行日: vol.11, pp.7-26,57, 2014-04-10 (Released:2019-08-08)
参考文献数: 55

This article analyzes the magic lantern show and its spectators during late nineteenth-century Japan, through an examination of two types of lantern shows and their different spectators. In Japan, magic lanterns (gentô) began to be used as an educational tool during lectures in elementary schools in the late 1880s. During these educational lantern shows (Kyôiku gentô kai), the devices, the lecture's explanation and the instructions were managed in such a way that the students were encouraged to concentrate on the projected images in silence. However, during Sino-Japanese War lantern shows (Nisshin sensô gentô kai), which were held between 1894 and 1895, the spectators clapped their hands, shouted banzai, sang military songs, and even played music instruments. In addition, the role of the benshi in the Sino-Japanese War lantern shows was different to that of the lecturer who merely gave instructions using slides and textbooks in the educational lantern shows. Indeed, the benshi's skill in narrating and performing had a direct effect on the spectators' emotions and reaction. Moreover, auditory stimuli such as music, songs, and narration all helped to keep their attention during the shows. These two types of lantern shows were completely different in terms of the spectators' reaction. However, they were similar in that they were both organized to produce a homogeneous reaction by managing the spectators' perception.