Subjects -> PHOTOGRAPHY (Total: 19 journals)
Showing 1 - 10 of 10 Journals sorted by number of followers
ISPRS Journal of Photogrammetry and Remote Sensing     Hybrid Journal   (Followers: 83)
History of Photography     Hybrid Journal   (Followers: 36)
Photography and Culture     Hybrid Journal   (Followers: 24)
British Journal of Photography     Full-text available via subscription   (Followers: 24)
Photographies     Hybrid Journal   (Followers: 12)
ISPRS Open Journal of Photogrammetry and Remote Sensing     Open Access   (Followers: 12)
The Photogrammetric Record     Hybrid Journal   (Followers: 10)
International Journal of Multimedia Intelligence and Security     Hybrid Journal   (Followers: 10)
Philosophy of Photography     Hybrid Journal   (Followers: 10)
Trans-Asia Photography Review     Free   (Followers: 8)
Peritia     Full-text available via subscription   (Followers: 6)
Fotocinema : Revista Científica de Cine y Fotografía     Open Access   (Followers: 5)
Getty Research Journal     Full-text available via subscription   (Followers: 4)
Imaging Science Journal     Hybrid Journal   (Followers: 2)
Color Research & Application     Hybrid Journal   (Followers: 1)
Ciel variable : Art, photo, médias, culture     Full-text available via subscription  
Rivista di studi di fotografia. Journal of Studies in Photography     Open Access  
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Trans-Asia Photography Review
Number of Followers: 8  

  Free journal Free journal
ISSN (Online) 2158-2025
Published by Michigan Publishing Homepage  [22 journals]
  • “Asia”: An Introduction
    • Authors: Yi Gu
      Abstract: In Spring 2010, Trans Asia Photography Review published its inaugural issue, featuring a virtual roundtable discussion on “Why Asian Photography,” that at the time offered a rare academic critical discussion explicitly on “Asian photography.” Eleven years later, although books, articles, and exhibitions on photography of various parts of Asia and its diaspora have mushroomed, TAP remains the only place where photography of Asia—defined expansively as signified by the prefix “trans”—is the focus of study. By now, critics widely acknowledge that Asia is a construct, which emerged as result of European geopolitical interest and its related drive of knowledge-making. And yet, Asian intellectuals have hailed the idea of “Asia” as a rallying point for epistemological decolonization, as illustrated by the continual fascination with “Asia as method,” a phrase first appearing in Takeuchi Yoshimi’s 1961 talk and resurfacing after Kuan-hsing Chen’s highly influential book Asia as Method: Toward Deimperialization (2010). Although Asia as “a desire for transcendence” could be adopted in anti-imperialist struggle and aspiration for political emancipation, it lent ideological support to Japanese military imperialism in the 1930s in the name of Pan-Asianism as well as to China’s imperial ambition in the rhetoric of Xi Jinping’s “an Asian community with a shared future.” Put simply, the desire to carve Asia as a category is never natural or innocent. Hence, the question “why Asia” continues to lie at the core of TAP’s self-scrutiny.
      PubDate: Fall 2021
      Issue No: Vol. 11, No. 2 (2021)
  • Two Leaves and a Bud: Tea and The Body Through a Colonial Lens
    • Authors: Leila Anne Harris
      Abstract: Figure 1: W.L.H. Skeen & Company, Plucking the leaf, ca. 1880. Reproduced by kind permission of the Syndics of Cambridge University Library (RCS Y303E/7).
      PubDate: Fall 2021
      Issue No: Vol. 11, No. 2 (2021)
  • Disobedient Photobooks: Photobooks and the Protest Image in Contemporary
           Hong Kong
    • Authors: Wing Ki Lee
      Abstract: In a book published in 2017, Hong Kong-based writer Antony Dapiran dubbed Hong Kong a “city of protest.” Since the Handover of Sovereignty in 1997, Hong Kong has witnessed growing grassroots and civil protests and civil disobedience activities that directly engages the changing political reality. The political situation and civil disobedience in Hong Kong was intensified in recent years. From 2019 to 2020, many large-scale citywide protests and civil disobedience activities happened in Hong Kong in response to the introduction of the Fugitive Offenders and Mutual Legal Assistance in Criminal Matters Legislation (Amendment) Bill 2019—controversial because of its extradition provisions from the HKSAR to the People’s Republic of China, among other countries. The protests therefore are known as the Anti-Extradition Law Amendment Bill Protest (2019-20). The 2019 protests attracted many photographers, both locally based and those from other parts of the world, who came to Hong Kong for assignments, personal projects, or simply to witness or participate. More importantly, in parallel to the unfolding of the protests was an unprecedented boom in the creation and publication of photobooks.
      PubDate: Fall 2021
      Issue No: Vol. 11, No. 2 (2021)
  • Photojournalism and Social Movement as “Theatre”: A Critical Reading
           of “The Sunflower Movement” Photographs
    • Authors: Li-Hsin Kuo
      Abstract: The Sunflower Movement, in which students and social activists occupied Taiwan’s Legislative Yuan in the spring of 2014, to demand rescinding the Cross-Strait Service Trade Agreement (CSSTA), occupies an important historical place in Taiwan's democratization movement and deserves thoughtful writing, documentation, and commentary. The Sunflower Movement has created an immediate and lasting effect on the political reality. With increasing accessibility to digital photography tools, the participants of the movement had become fully equipped with cell phones and other photographic devices. As a result, after the conclusion of the Sunflower Movement, there were an unprecedentedly large number of publications with text and images about the movement. In the face of such a “festival of images,” this article will discuss representative photographs of the Sunflower Movement and analyze a few characteristics and problems prevalent in mainstream photojournalism and documentary photography.
      PubDate: Fall 2021
      Issue No: Vol. 11, No. 2 (2021)
  • Why Trans People Stand: The Performance of Postcoloniality and Power in
    • Authors: Jun Zubillaga-Pow
      Abstract: Figure 1: Zeck © Grace Baey
      PubDate: Fall 2021
      Issue No: Vol. 11, No. 2 (2021)
  • The Making of “Henri Cartier-Bresson: China 1948-1949, 1958”
    • Authors: Ying-lung Su
      Abstract: After launching a photographically illustrated magazine called “NEUF” in 1950, Robert Delpire (1926-2017) founded a publishing house in Paris under his own name in 1953 and published his first book in same year. In 1954, at the age of 28, he edited and published D’une Chine à l’autre (published in English as From One China to the Other, 1956), a collection of photographs taken by Henri Cartier-Bresson (1908-2004) in China between 1948 and 1949. (Figure 1) Delpire and Cartier-Bresson became close friends after that. By 2003, Delpire had published several special collections of Cartier-Bresson's photographs and curated many major exhibitions for him, including his last retrospective at the Bibliothèque nationale de France.
      PubDate: Fall 2021
      Issue No: Vol. 11, No. 2 (2021)
  • Cartier-Bresson is Here
    • Authors: Yongquan Jin
      Abstract: On June 16, 1958, French photographer Henri Cartier-Bresson arrived in Beijing. According to a press release from the Chinese Photographers Association (CPA), Cartier-Bresson came to China on a “photographic visit” for a book to be entitled “Ten Years of the People's Republic of China.” As “friends will be treated with good wine,” on June 26, the president and vice president of the CPA received Cartier-Bresson and hosted him at a banquet according to Chinese etiquette. During Cartier-Bresson's shooting in Beijing, the CPA also sent someone to accompany him.
      PubDate: Fall 2021
      Issue No: Vol. 11, No. 2 (2021)
  • Kaneko Ryūichi and the History of Japanese Photography
    • Authors: Yoshikai Kai
      Abstract: The passing of the photo historian Kaneko Ryūichi on June 30, 2021 at seventy-three years old shocked the photography community in Japan. The fact that the news was initially reported on the website of the Taiwanese photography journal Voices of Photography is indicative of his international reputation. Anyone who pursued a career in the field of Japanese photography would have been encouraged to speak with Mr. Kaneko. He always had a welcoming attitude towards the young scholars and students visiting him, including myself. I met him for the first time eighteen years ago. I know of several photography scholars who were close to him and are probably much better suited to write about Mr. Kaneko’s life and his personality. Therefore, in this short essay, I will limit myself to focusing on his professional career and achievements.
      PubDate: Fall 2021
      Issue No: Vol. 11, No. 2 (2021)
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