具体描述
From the first sets of photographic records made by Western travelers to doctored portraits of Chairman Mao and the avant-garde photographic performances of the post–Cultural Revolution era, photography in China has followed divergent paths. In this book, Wu Hung explores the multiple histories of photographic production in China, using them to tell a larger story about China’s shifting sociopolitical contexts and the different agendas, technologies, and aesthetics that have helped define its arts.
At the center of the book is a large question: how has photography represented China and its people, its collective history and memory as well as the diversity of Chinese artists who have striven for creative expression? To address this question, the author offers an in-depth study of selected photographers, themes, and movements in Chinese photography from 1860 to the present, covering a wide range of genres, including portraiture, photojournalism, architectural and landscape photography, and conceptual photography. Beautifully illustrated, this book offers a multifaceted and in-depth analysis of an important photographic history.
用户评价
##这次读的英文，很平白，仍然是时间上远的比近的讲得好…… 收获了一些灵感。
##这次读的英文，很平白，仍然是时间上远的比近的讲得好…… 收获了一些灵感。
##这次读的英文，很平白，仍然是时间上远的比近的讲得好…… 收获了一些灵感。
丰富的历史细节与巫鸿本人与摄影艺术家们的connection分不开。可能是中国当代摄影唯一的（非官方）历史记录。教授一周布置一章，一个学期下来刚好读完。其中驳斥了一些研究中国艺术史的西方学者的观点，对比中可见各自倾向，值得细读。另：巫鸿老师是出色的非母语人文学科学术写作者，读来没有太多非母语者使用英语的龃龉感。
丰富的历史细节与巫鸿本人与摄影艺术家们的connection分不开。可能是中国当代摄影唯一的（非官方）历史记录。教授一周布置一章，一个学期下来刚好读完。其中驳斥了一些研究中国艺术史的西方学者的观点，对比中可见各自倾向，值得细读。另：巫鸿老师是出色的非母语人文学科学术写作者，读来没有太多非母语者使用英语的龃龉感。
##Informational
##Informational
##这本typo有点多啊
##这次读的英文，很平白，仍然是时间上远的比近的讲得好…… 收获了一些灵感。