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Sunappu : = A Genre of Japanese Photography, 1930-1980.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Sunappu :/
其他題名:	A Genre of Japanese Photography, 1930-1980.
作者:	Kai, Yoshiaki.
面頁冊數:	1 online resource (330 pages)
附註:	Source: Dissertations Abstracts International, Volume: 73-09, Section: A.
Contained By:	Dissertations Abstracts International73-09A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3499254click for full text (PQDT)
ISBN:	9781267235589

Sunappu : = A Genre of Japanese Photography, 1930-1980.
Kai, Yoshiaki.

Sunappu :A Genre of Japanese Photography, 1930-1980. - 1 online resource (330 pages)

Source: Dissertations Abstracts International, Volume: 73-09, Section: A.

Thesis (Ph.D.)--City University of New York, 2012.

Includes bibliographical references

This dissertation discusses the development of sunappu photography from the 1930s to the end of the 1970s, demonstrating its importance to the history of Japanese photography and art. Sunappu is a Japanese photographic term that began to be used in the mid-1930s, derived from the English word "snapshot." In the broader meaning of the term, it signifies instantaneous photography taken with a hand-held camera. Sunappu, however, often took on narrower connotations, referring specifically to candid photographs of people unaware of the presence of the camera. First and foremost, sunappu describes a photographic technique. However, it also constitutes a genre of Japanese photography with historical roots stretching back to the mid-1930s. Although the term sunappu has been commonly used in the Japanese photo world, there has been little attention paid to the concept of sunappu itself. That is, the significance of sunappu as an idiosyncratic genre of Japanese photography has been neglected. This dissertation argues the following points: firstly, sunappu is an indigenous tradition within Japanese photography that is epistemically different from the Anglophone snapshot. Many Japanese photographers, including established figures such as Ihei Kimura, Ken Domon, Shomei Tomatsu, Daido Moriyama, Shigeo Gocho, and Nobuyoshi Araki, worked in this tradition, inheriting and transforming it simultaneously. Secondly, sunappu is at once a technique, a genre, and a discourse. As such, it has a unique status within photographic history. Thirdly, sunappu photography addressed the issues which were shared by contemporaneous art and literature more significantly than usually believed. This aspect of sunappu made it a cultural phenomenon whose relevance goes beyond the relatively insular world of Japanese photography. More specifically, photographers utilized the technique of sunappu, i.e., candid photography, to grapple with central issues affecting art and literature at that time, such as the controversy over Riarizumu in the early 1950s (Domon), the Americanization of Japanese culture in the 1960s (Tomatsu and Moriyama), and the representation of everydayness in the early 1970s (Gocho and Araki).

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9781267235589Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

History of photographyIndex Terms--Genre/Form:

542853
Electronic books.

Sunappu : = A Genre of Japanese Photography, 1930-1980.
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520 $a This dissertation discusses the development of sunappu photography from the 1930s to the end of the 1970s, demonstrating its importance to the history of Japanese photography and art. Sunappu is a Japanese photographic term that began to be used in the mid-1930s, derived from the English word "snapshot." In the broader meaning of the term, it signifies instantaneous photography taken with a hand-held camera. Sunappu, however, often took on narrower connotations, referring specifically to candid photographs of people unaware of the presence of the camera. First and foremost, sunappu describes a photographic technique. However, it also constitutes a genre of Japanese photography with historical roots stretching back to the mid-1930s. Although the term sunappu has been commonly used in the Japanese photo world, there has been little attention paid to the concept of sunappu itself. That is, the significance of sunappu as an idiosyncratic genre of Japanese photography has been neglected. This dissertation argues the following points: firstly, sunappu is an indigenous tradition within Japanese photography that is epistemically different from the Anglophone snapshot. Many Japanese photographers, including established figures such as Ihei Kimura, Ken Domon, Shomei Tomatsu, Daido Moriyama, Shigeo Gocho, and Nobuyoshi Araki, worked in this tradition, inheriting and transforming it simultaneously. Secondly, sunappu is at once a technique, a genre, and a discourse. As such, it has a unique status within photographic history. Thirdly, sunappu photography addressed the issues which were shared by contemporaneous art and literature more significantly than usually believed. This aspect of sunappu made it a cultural phenomenon whose relevance goes beyond the relatively insular world of Japanese photography. More specifically, photographers utilized the technique of sunappu, i.e., candid photography, to grapple with central issues affecting art and literature at that time, such as the controversy over Riarizumu in the early 1950s (Domon), the Americanization of Japanese culture in the 1960s (Tomatsu and Moriyama), and the representation of everydayness in the early 1970s (Gocho and Araki).
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