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Staging the Future: The Politics of ...

Poborsa, James David.

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Staging the Future: The Politics of Photographic Representation in Postsocialist China.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Staging the Future: The Politics of Photographic Representation in Postsocialist China./
Author:	Poborsa, James David.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	330 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-06, Section: A.
Contained By:	Dissertations Abstracts International80-06A.
Subject:	Asian History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10937629
ISBN:	9780438684638

Staging the Future: The Politics of Photographic Representation in Postsocialist China.
Poborsa, James David.

Staging the Future: The Politics of Photographic Representation in Postsocialist China. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 330 p.

Source: Dissertations Abstracts International, Volume: 80-06, Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2018.

This item must not be sold to any third party vendors.

This dissertation examines the changing nature of photographic representation in China from 1976 until the late 1990s, and argues that photography and photo criticism self-reflexively embodied the cultural politics of social and political liberalisation during this seminal period in Chinese history. Through a detailed examination of debates surrounding the limits of representation and intellectual liberalisation, this dissertation explores the history of social documentary, realist, and conceptual photography as a form of social critique. As a contribution to scholarly appraisals of the cultural politics of contemporary China, this dissertation aims to shed insight into the fraught and often contested politics of visuality which has characterized the evolution of photographic representation in the post-Mao period. The first chapter examines the politics of photographic representation in China from 1976 until 1982, and explores the politicisation of documentary realism as a means of promoting modernisation and reform. Chapter two traces the internationalisation of photographic theory and practice in China throughout the 1980s, while exploring the pervasive engagement among photo critics with issues of historical representation, national progress, and the role of the photography in representing social change. The third chapter examines the photographic oeuvre of Mo Yi from the mid 1980s to the late 1990s, and situates his work within the broader photographic and cultural politics of the period, while chapter four examines the history of conceptual photography and photo theory in China during the 1990s.

ISBN: 9780438684638Subjects--Topical Terms:

2088436
Asian History.

Staging the Future: The Politics of Photographic Representation in Postsocialist China.
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520 $a This dissertation examines the changing nature of photographic representation in China from 1976 until the late 1990s, and argues that photography and photo criticism self-reflexively embodied the cultural politics of social and political liberalisation during this seminal period in Chinese history. Through a detailed examination of debates surrounding the limits of representation and intellectual liberalisation, this dissertation explores the history of social documentary, realist, and conceptual photography as a form of social critique. As a contribution to scholarly appraisals of the cultural politics of contemporary China, this dissertation aims to shed insight into the fraught and often contested politics of visuality which has characterized the evolution of photographic representation in the post-Mao period. The first chapter examines the politics of photographic representation in China from 1976 until 1982, and explores the politicisation of documentary realism as a means of promoting modernisation and reform. Chapter two traces the internationalisation of photographic theory and practice in China throughout the 1980s, while exploring the pervasive engagement among photo critics with issues of historical representation, national progress, and the role of the photography in representing social change. The third chapter examines the photographic oeuvre of Mo Yi from the mid 1980s to the late 1990s, and situates his work within the broader photographic and cultural politics of the period, while chapter four examines the history of conceptual photography and photo theory in China during the 1990s.
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