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Journal of TFAM No.33

主編語
Editor-in-chief’s Note

A Note from the Editor-in-chief

Kuo Li-hsin

Abstract

The world of elite culture tends to view photography as a form of contemporary visual art, but ordinary society has long viewed it as an art form that is highly accessible and easy to do. Although in Taiwan there have been several scholars and writers, both inside and outside academia, who have devoted themselves tirelessly to the history of photography, we have seen a relative scarcity of written works on the history of Taiwanese photography that are comprehensive and collective and possess a certain historical perspective or critical outlook. More research and writing in this field is clearly needed. The special theme of this edition, “The Age of Photography: Japanese Colonial History and Taiwan Photography,” considers photography as archive and historical data. By investigating the different functions of photographic archives and the different ways in which they are used, we attempt to systematically understand the political, social and cultural effects of photography under Japanese colonial rule.

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Photography as Ethnographic Method: The Anthropological Photographic Archives in Japanese Colonial T

Chen Wei-chi

Ph.D. Candidate, NYU, Ph.D. program, Dept. History, NTU

Abstract

In the beginning of the Japanese colonial rule, Taiwanese aborigines soon became targets of the “savage administration” of the colonial government. They also were objects in the construction of the anthropological knowledge. In the unfolding of colonial governance and knowledge construction, the production of photographic images of Taiwanese aborigines developed as well. The formation of photographic archives of Taiwanese aborigines was part of official ethnography of the “savage administration” as well as the use of photograph as a modern ethnological method. Anthropological photographic experiences during this period were both records of documentary photography of aboriginal governance and of representation of constructing ethnic-type categories. Drawing on ethnographic photos taken by the “savage administration” and anthropologists, this article discusses official documentary photography and type photographs. It also analyses field experiences of anthropologists, the production processes of photographic archives, and the reaction of the photographed.

Keywords: ethnographic method, photographic archives, colonial anthropology, Ino kanori, Tori Ryuzo, Mori Usin

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Photographic Archives and Visual Modernity: A Case Study of the Taiwan Exhibition 1935

Chen Chia-chi

Post-Doc, the Center of Multiple-Cultural Studies, NCKU

Abstract

From reading photographs and related archives of Documents of Taiwan Exhibition of the Fortieth Anniversary of Governanceand , and Shashin Choof Taiwan Exhibition of the Fortieth Anniversary of Governance, this article discuss the meaning of these images archives which about activities and new techniques of photography, intending to understand the relationship of the Japanese Colonial Period and the visual modernity experience in Taiwan.

Photographic display in exhibition, photographic activities in exhibition and photographic archives about exhibition are three points this article trying to provide, then the interaction and cooperation between photography, exhibition, and visual politics from empire in modern history will be observed. First of all, to analyze photographic display in Exhibition, the education attempt behind a photo will be discover. Secondary, to survey photographic activities in exhibition can reach a small dimension in the trend of photography in 1930s. At last, to reading photographic archives about exhibition can help us finding out the construction of visual modernity in the Japanese Colonial Period.

Keywords: Photography, Shashin, Taiwan Exhibition, Archives, Visual Modernity

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The Early History of Criminal Photography in Taiwan: ID photographs, Criminal Identification and Vis

Liang Chiu-hung

Postdoctoral Fellow, Institute of Sociology, Academia Sinica

Abstract

This exploratory study investigates the earliest stages of the development of criminal photography in Taiwan under ‘colony warfare’ from 1895 to 1915. Using government regulations, official documents and colonial images as the primary sources, which mostly were classified archives including war photography and juridical photography, in addition to some unexplored book-form photographic albums, this paper will examine the making of ‘the bandits’ (Taiwanese Anti-Japanese Armed Guerrillas) by the colonial camera. The major findings are as follows: first, on criminal identification mechanisms, the invention of the earliest ID photograph mechanisms emerged from the border crossing inspection in order to target the suspect population under martial rule. Second, on the identification techniques, two competitive techniques were involved, namely the verbal portrait based on physiognomy description and the mug shot based on the Bertillon system. Third, the visual narratives of ‘the bandit’ changed as well. The war violence was increasingly un-visualized and even replaced by the violence of the revolt itself. Besides, the bandit portraits represented a kind of stereotype from the surrender of guerrillas to the real outlaw in the standardized form of mug shot. Finally, on the politics of the exhibition, these findings may have further implications for reflection on the nature of criminal photography and the colonial images as suspicious historical evidence.

Keywords: Colonial photography, Criminal identification, ID photograph, Visual Politics,Tapani incident

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Constructing the Taiwanese “Landscape” : A Preliminary Study into the History of Photography during

Chang Shih-lun

Ph.D. Candidate, Centre for Cultural Studies, Goldsmiths College, University of London.

Abstract

This paper tries to investigate how the emerging idea of Taiwanese “landscape” was imagined and constructed by the gradual intersection and continuous interaction between photography and tourism during the Japanese colonial era. The argument mainly consists of four aspects: I will first delve into several Taiwan-related photographic albums and travel guides either heavily supervised or solely published by the renowned photographer-cum-printmaker OGAWA Kazumasa around the turn of the 20th century. Then the focus will be on the gradual evolution of “the Eight Views of Taiwan” activities and how these campaigns intersected with the practice of photography. The third part will involve an in-depth reading into The Photographic Album of the National Parks in Taiwan by Japanese photographer OKADA Koyo, analyzing both its visual achievement and cultural limitation. The conclusion of this paper will draw attention to the popular phenomenon of railway tour during the colonial era, stressing how its cultural significance towards the construction of the idea of “landscape” was related to its full exploitation of photographic images in various publications.

Keywords: photography, history of photography, landscape, tourism, Japanese Colonial era

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Online ISSN ISSN 1560-4713
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Update:2018-12-17 16:30