2024-03-29T14:28:50Z
https://nagoya.repo.nii.ac.jp/oai
oai:nagoya.repo.nii.ac.jp:02005131
2023-03-17T06:48:47Z
326:521:2363:1679031686319
新たなリアリズム写真運動としての全日本学生写真連盟 : 「集撮」の思想と『この地上にわれわれの国はない』
The All-Japan Students’ Photo Association : The Concept of “Group Photography” and In This Land We Have No Country
田尻, 歩
TAJIRI, Ayumu
open access
全日本学生写真連盟
リアリズム
ドキュメンタリー写真
福島辰夫
公害
All-Japan Students’ Photo Association
realism
documentary photography
Tatsuo Fukushima
environmental disaster
The All-Japan Students’ Photo Association (AJSPA), a national organization of student photographers, was founded in 1952 and its activities culminated from the late 1960s to the early 1970s. Partly because members valued collectivity and anonymity in publishing their works, the organization’s history and works had been mostly overlooked in the history of Japanese photography until the 2013 exhibition 1968--Japanese Photography at the Tokyo Photographic Art Museum, in which AJSPA photographs were shown. While the general incorporated association Archives of Another Japanese Photo Stream established a website in 2018, which opened many of the AJSPA materials and photobooks to the public, there are still few research articles on the organization except the writings by the former member Ryuichi Kaneko. This essay considers AJSPA photographs in a critical documentary tradition. Exploring the (dis)continuity between the early- 1950s realism movement led by Ken Domon and the AJSPA, this paper argues that the critic Tatsuo Fukushima, who became the instructor of the organization around 1965, considered the AJSPA as another realism movement started in a socially and economically different situation. After the failure of the “collective production” approach, the AJSPA began to review its activity in 1965 with Fukushima’s guidance and, influenced by rising student movements from late 1967, devised a new approach called “group photography” around 1968. Reading articles from the AJSPA bulletin, I suggest that in this approach, taking photographs was identified with exploring the history that conditioned student photographers themselves. From that point of view, the members began to deal with themes related to Japan’s violent modernization process. In the latter part of this essay, I present an intensive analysis of In This Land We Have No Country, which critically examines the history of environmental disasters, and show how the 1970 photobook incarnates the concept of “group photography.”
名古屋大学大学院人文学研究科附属超域文化社会センター
2023-03-23
jpn
departmental bulletin paper
VoR
https://doi.org/10.18999/juncture.14.94
http://hdl.handle.net/2237/0002005131
https://nagoya.repo.nii.ac.jp/records/2005131
10.18999/juncture.14.94
1884-4766
JunCture : 超域的日本文化研究
14
94
109
https://nagoya.repo.nii.ac.jp/record/2005131/files/juncture_14_94.pdf
application/pdf
1.5 MB
2023-03-17