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Beyond propaganda, aestheticism and commercialism : the coming of age of documentary photography in China
ID Wu, Jing (Author), ID Guoqiang, Yun (Author)

URLURL - Presentation file, Visit http://www.javnost-thepublic.org/issue/2007/3/ This link opens in a new window

Abstract
The paper traces the development of documentary photography in modern China through case studies of photographers and their work in different periods of history. It argues that technological potential, social conditions and cultural values work together to enable and condition the development of specific styles of photography. The coming of age of documentary photography as an independent way of observing society and intervening in social change inChina is the result of overcoming three institutional influences of art: propaganda, aestheticism and commercialism. The future development of this artform depends on its continued negotiation with these three institutional forces and its ability to remain relevant to social processes.

Language:English
Work type:Not categorized
Typology:1.01 - Original Scientific Article
Organization:FDV - Faculty of Social Sciences
Year:2007
Number of pages:Str. 31-48
Numbering:Vol. 14, no. 3
PID:20.500.12556/RUL-74791 This link opens in a new window
UDC:316.77:77
ISSN on article:1318-3222
COBISS.SI-ID:26706269 This link opens in a new window
Publication date in RUL:21.12.2015
Views:898
Downloads:170
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Record is a part of a journal

Title:Javnost = The public
Shortened title:Javnost
Publisher:Taylor & Francis, European Institute for Communication and Culture
ISSN:1318-3222
COBISS.SI-ID:40119808 This link opens in a new window

Secondary language

Language:Unknown
Abstract:
Članek predstavlja razvoj dokumentarne fotografije v sodobni Kitajski s študijami fotografov in njihovega dela v različnih časovnih obdobjih. Dokazuje, da tehnološke možnosti, družbene okoliščine in kulturne vrednote skupaj omogočajo in pogojujejo razvoj specifičnih stilov. Obdobje dokumentarne fotografije kot neodvisnega pogleda na družbo in poseganja v kitajske družbene spremembe je rezultat preseganja treh institucionalnih vplivov na umetnost: propagande, estetitzacije in komercializma. Prihodnji razvoj te oblike umetnosti je odvisen od nadaljnjega premagovanja teh treh institucionalnih sil in njene zmožnosti, da ostane relevantna za družbene procese.


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