保正版！China Through the Lens of Foreign Photographers9787508546087五洲传播出版社郑梓煜编著

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作者: 郑梓煜编著
出版社: 五洲传播出版社
ISBN: 9787508546087

出版时间: 2021-08
装帧: 精装
开本: 其他

作者: 郑梓煜编著
出版社: 五洲传播出版社

ISBN: 9787508546087
出版时间: 2021-08

装帧: 精装
开本: 其他

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定价￥368.00

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1202517416

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前言

. Let “Seeing” Be Seen Again
Through more than 12 months of painstaking endeavor, Zheng Ziyu and his team searched through more than a million historical photos about China, as well as archival images taken by many Western missionaries, photographers, and scholars who came to China with various purposes and took pictures from 1844 to 2019. They focused on photos that have been taken during the past 70 years, that is, taken since the founding of the People’s Republic of China in 1949. They chose the most representative masterpieces and compiled this photo album, hoping to present a photographic history of China and demonstrate the striking changes of China over the past more than half a century. After all, China’s development may be one of the most significant milestones in world history over the past century.
In most times, coincidences in history are just so remarkable. Photography emerged in 1839, and the next year 1840 marked the beginning of China’s modern history. In 1840, Great Powers from the west, with their powerful warships, forced this ancient country to open its door. The sufferings, setbacks, humiliations, and failures that have haunted Chinese people since have been recorded and remembered. After generations of painstaking endeavor, China embraced a turning pointing in 1949, which laid the historical foundation for the remarkable achievements that the country had made today.
The invention of photography is a milestone for human visual development whose significance can never be overstated. It divided human visual development into two phases: the “pre-photography phase” before the emergence of photography and the “photographic phase” that followed. Before the invention of photography, all human-made visual works, ranging from unparalleled artistic masterpieces to common utensils in daily life, were manually crafted according to different traditions for various purposes. They manifested different aesthetic tastes of different eras. However, the emergence of photography changed the tradition. For the first time, humanity had a tool to produce and replicate images effectively. More importantly, photography provides the possibility for “on-spot observation”—not only through naked eyes but also through photos which externalize instant pictures left on the retina and relevant brain regions and convert them into permanent physical existences. That means that without photography, “seeing is believing” would be only a hypothesis, conjecture and experience. In this sense, it is doubtless that photography is observation, and observation is photography.
Of course, after a plethora of photographic practices over the past century, people today have a deeper understanding of photography as a tool of visualization. We realized that photographic observation still is not just mechanical copying of objects in reality, but a perspective depended on personal choices. That is to say, the so-called “documentary” that was attached to photography is merely an inaccurate definition by “pre-photography” phase, and cannot represent the whole of photography. Obviously, the history reconstructed through photography has a dual nature: on the one hand, photography is the observation on the spot; on the other hand, photography is a selected observation. One direct result of the duality of photography is that we can see both “Other” and “On the Spot” in the same photo. If we compare two photos of the same place taken in different historical periods, we would even sense the evolution: due to different times and different photographers, viewers may find the “Other” on the spot shifts to the “Self” on the spot, and their purpose shifts from “seeking novelty” to “observing rationally,” thus defining the historical value of observation.
In a nutshell, photography enables us to see transient moments that happen by accident, the existences that we used to ignore, and events that have a long history. For this reason, we have an image of China witnessed by others and comprised of countless slices of history. All of these “slices” are gathered in the book, which lets “seeing” be seen again. In this way, observation turns into the classic, subject and history.
【书摘与插画】

商品简介

画册通过国外摄影师的镜头展现了中国从封闭走向开放，从落后走向强大，从单一文化和单一价值观转变为兼容并蓄、百花齐放的文化气氛。中国的每个阶段都有大量的见证者，这些外国摄影师用照片和影片将中国一点一滴的改变记录下来，我们国家的很多生活场景在他们看来都有着独特的价值和有着独一无二的拍摄理由，我们国家的很多社会现象都堪称“标本”，是一个社会快速发展的已经阶段。经由他们的充满幽默感和善意的作品，我们也可以从侧面回望我们自己的脚步。

作者简介

画册主编郑梓煜1985生人, 现工作生活于广州。中山大学传播与设计学院副研究员，博士；极光视觉联合创始人。曾任南方都市报视觉中心高级编辑、视觉周刊策划统筹编辑，财新传媒视觉顾问。现从事视觉传播研究、当代摄影研究及策展、艺术批评写作。

目录

How Are We Seen by Outlanders (by Zheng Ziyu)
A Mysterious Nation through Curious Eyes 1949—1978
Signs of Change through Keen Eyes 1978—1992
Reform Process through the Eyes of Witnesses 1992—2008
An Era of Rapid Development through Attentive Eyes 2008—2019
Postscript
Credits
【前言】

主编推荐

1949-2019，中国是主角，聚焦在舞台灯光的照射之下，而从全世界来华的外国摄影师，他们是旁观者，他们在这70年间，因为各种采访任务、个人拍摄计划，以及各种因缘巧合来到中国，有的对于中国一无所知，有的一来中国就爱上了这个国度，也有的在之后的几十年中多次来到中国，一些摄影师甚至到中国采访数十次之多，还有的娶了中国人做太太。中国究竟有着什么样的魔力，吸引他们一次又一次的到来，来拍摄，来旅行？中国是影像的新大陆，让这些摄影师好奇兴奋。他们见证了中国从一穷二白走到今天，因为视角的差异，他们能看到我们中国人容易忽略的故事和角度，我们的种种发展和发展中的改变，对于摄影师来说都是巨大的吸引力。那些有矛盾、有变化、存在进步和革新的国家才能产生出好照片。比如中国。
1949新中国成立后，布勒松、马克•吕布等人朴素平和地记录了当时中国的建设和老百姓生活，随着美国尼克松总统访华，同行的摄影师约翰•达米尼斯、德克•哈斯坦德记录了珍贵的历史性时刻也同时记录了70年代早期北京的城市生活。马格南图片社主席斯图亚特-富兰克林在受访时说：“任何一个喜欢记录历史的摄影师都会对中国感兴趣”。今天的中国正在创造历史，社会变革之丰富，远不止大国崛起这么简单。他者的目光是一种有意义的回响、有角度的发现、有文化厚度的对话、有个性的赞美。
书中的这些照片出自200多位摄影师的镜头，时间跨度有70年左右，集中了Getty、法新社、路透社、新闻周刊、LIFE、美国国家地理杂志、西格玛图片社、伽马图片社、UPI合众国际图片社、俄通社塔斯社等众多国际上的新闻机构和自由摄影师的作品，总体上或者说从历史的视角来看，他们的记录、摄影语法都是相当客观的，这么多作品凑在一起就能够形成有趣的、有意义的观看：我们国家的什么元素是吸引外国摄影师的；我们的辉煌成就和普通人的生活改善，社会的一点一滴进步，在外国摄影师看来，是用什么表象来体现的。而他们又是如何被我们的人民所感动，逐渐能够投入更多的情感在这个古老的国家。
宏观的看，在这一段不短的时间内，外国摄影师拍中国的总体风格是有变化的，很有趣也很值得回味：从1949年到1970年代早期，例如尼克松总统访华，这段时间来华记者极其稀缺，作品风格很写实，几乎记者都是以记录为目的；从1790年代到1990年代，这段时间来中国的摄影师比较多，我们的国门逐渐打开，大家用充满诗意的眼光看中国，寻找在西方丧失已久的田园诗意和充满善意的面孔。从1990年代到现在：中国的发展逐渐加速，与西方的距离不断缩小，甚至在某些城市、某些领域的发展已经超过了外国，在这段时间，摄影师更多的是看我们快速发展中标本式的场景和人物，善意的用镜头提出一些看法和提醒，寻找中国发展中的疑问和解决方式。这种渐进式的观看，客观的视角，的确能够为我们打开，认识自己，寻找未来的另一种方式。
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保正版！China Through the Lens of Foreign Photographers9787508546087五洲传播出版社郑梓煜编著