內容介紹 | |
![](http://img3m5.ddimg.cn/10/16/29309455-1_u_1.jpg)
開本:8開 紙張:銅版紙 包裝:精裝 是否套裝:否 國際標準書號ISBN:9787508546087 作者:鄭梓煜 出版社:五洲傳播出版社 出版時間:2021年08月  原版書名:China
" 編輯推薦 1949-2019,中國是主角,聚焦在舞臺燈光的照射之下,而從全世界來華的外國攝影師,他們是旁觀者,他們在這70年間,因為各種采訪任務、個人拍攝計劃,以及各種因緣巧合來到中國,有的對於中國一無所知,有的一來中國就愛上了這個國度,也有的在之後的幾十年中多次來到中國,一些攝影師甚至到中國采訪數十次之多,還有的娶了中國人做太太。中國究竟有著什麼樣的魔力,吸引他們一次又一次的到來,來拍攝,來旅行?中國是影像的新大陸,讓這些攝影師好奇興奮。他們見證了中國從一窮二白走到今天,因為視角的差異,他們能看到我們中國人容易忽略的故事和角度,我們的種種發展和發展中的改變,對於攝影師來說都是巨大的吸引力。那些有矛盾、有變化、存在進步和革新的國家纔能產生出好照片。比如中國。 1949新中國成立後,布勒松、馬克•呂布等人樸素平和地記錄了當時中國的建設和老百姓生活,隨著美國尼克松總統訪華,同行的攝影師約翰•達米尼斯、德克•哈斯坦德記錄了珍貴的歷史性時刻也同時記錄了70年代早期北京的城市生活。馬格南圖片社主席斯圖亞特-富蘭克林在受訪時說:“任何一個喜歡記錄歷史的攝影師都會對中國感興趣”。今天的中國正在創造歷史,社會變革之豐富,遠不止大國崛起這麼簡單。他者的目光是一種有意義的回響、有角度的發現、有文化厚度的對話、有個性的贊美。 書中的這些照片出自200多位攝影師的鏡頭,時間跨度有70年左右,集中了Getty、法新社、路透社、新聞周刊、LIFE、美國國家地理雜志、西格瑪圖片社、伽馬圖片社、UPI合眾國際圖片社、俄通社塔斯社等眾多國際上的新聞機構和自由攝影師的作品,總體上或者說從歷史的視角來看,他們的記錄、攝影語法都是相當客觀的,這麼多作品湊在一起就能夠形成有趣的、有意義的觀看:我們國家素是吸引外國攝影師的;我們的輝煌成就和普通人的生活改善,社會的一點一滴進步,在外國攝影師看來,是用什麼表像來體現的。而他們又是如何被我們的人民所感動,逐漸能夠投入更多的情感在這個古老的國家。 宏觀的看,在這一段不短的時間內,外國攝影師拍中國的總體風格是有變化的,很有趣也很值得回味:從1949年到1970年代早期,例如尼克松總統訪華,這段時間來華記者極其稀缺,作品風格很寫實,幾乎記者都是以記錄為目的;從1790年代到1990年代,這段時間來中國的攝影師比較多,我們的國門逐漸打開,大家用充滿詩意的眼光看中國,尋找在西方喪失已久的田園詩意和充滿善意的面孔。從1990年代到現在:中國的發展逐漸加速,與西方的距離不斷縮小,甚至在某些城市、某些領域的發展已經超過了外國,在這段時間,攝影師更多的是看我們快速發展中標本式的場景和人物,善意的用鏡頭提出一些看法和提醒,尋找中國發展中的疑問和解決方式。這種漸進式的觀看,客觀的視角,的確能夠為我們打開,認識自己,尋找未來的另一種方式。 內容簡介 畫冊通過國外攝影師的鏡頭展現了中國從封閉走向開放,從落後走向強大,從單一文化和單一價值觀轉變為兼容並蓄、百花齊放的文化氣氛。中國的每個階段都有大量的見證者,這些外國攝影師用照片和影片將中國一點一滴的改變記錄下來,我們國家的很多生活場景在他們看來都有著獨特的價值和有著獨一無二的拍攝理由,我們國家的很多社會現像都堪稱“標本”,是一個社會快速發展的已經階段。經由他們的充滿幽默感和善意的作品,我們也可以從側面回望我們自己的腳步。 作者簡介 畫冊主編鄭梓煜1985生人, 現工作生活於廣州。中山大學傳播與設計學院副研究員,博士;極光視覺聯合創始人。曾任南方都市報視覺中心高級編輯、視覺周刊策劃統籌編輯,財新傳媒視覺顧問。現從事視覺傳播研究、當代攝影研究及策展、藝術批評寫作。 目錄 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 . 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..
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.
![](http://img3m5.ddimg.cn/10/16/29309455-2_u_1.jpg) ![](http://img3m5.ddimg.cn/10/16/29309455-3_u_1.jpg) ![](http://img3m5.ddimg.cn/10/16/29309455-4_u_1.jpg) | | |