"ผมไปเยี่ยมชมห้องทำงานจักรพรรดิปูยี ในราชวงศ์ชิง กษัตริย์องค์สุดท้ายของจีน ที่จัดแสดงโต๊ะทำงานของพระองค์ซึ่งใช้ในการลงนามเอกสารสนธิสัญญา Japan-Manchuguo Protocol และปัจจุบันเปิดเป็นพิพิธภัณฑ์ Puppet Manchukuo Palace ที่เมืองฉางชุนมณฑลจี๋หลิน ยุคที่ทุกคนยังมีชีวิตอยู่เรื่องราวของจักรพรรดิปูยีถูกถ่ายทอดเป็นภาพยนตร์ฮอลลีวูด “The Last Emperor” หรือชื่อภาษาไทยว่า“จักรพรรดิโลกไม่ลืม” ทำให้คนทั่วโลกได้รู้จัก ผู้ซึ่งเกิดมาในฐานะจักรพรรดิชี้เป็นชี้ตายได้ แต่สุดท้ายกลายเป็นสามัญชน สมกับคำกล่าวที่ว่าสูงสุดคืนสู่สามัญ”
นี่เป็นเนื้อเรื่องส่วนหนึ่งจากหนังสือ "ชีวิตใหม่ 2" สนใจหาซื้อได้ที่ http://bookstore.vikrom.net/ และอีเมล์ info@amatafoundation.org
同時也有1部Youtube影片,追蹤數超過17萬的網紅百靈果News,也在其Youtube影片中提到,Chapter 3 人人都說好滿洲 在日本人統治下 (1938-1945) They all say what a happy place Manchukuo is Life Under the Japanese 我們的網站上線了:http://bailingguonews.wixsite....
manchukuo 在 VOP Facebook 的最佳貼文
【VOP#12 新 刊 發 行】
Voices of Photography 攝影之聲
Issue 12 :: 太陽旗下的凝視——日本時代台灣寫真帖特輯
Images Under the Rising Sun :
Taiwan Shashin Cho from Japanese Colonial Period
在台灣的歷史影像河流裡,自1895年起歷時五十載的日本統治時期,是攝影術作為官方重要宣傳工具,進而開啟台灣本土寫真紀錄的一道高潮。其中,由日本政府機關及寫真館積極出版,用以展示台灣政經發展成果、引介島內地理風土與人種民俗的各式「寫真帖」,有如一股圖像涇流,沖刷出早期台灣的殖民社會地貌,成為帝國版的「看見台灣」。
攝影究竟創造了什麼歷史?作為攝影客體的台灣,如何被「看見」?本期特輯我們邀集攝影文史工作者簡永彬、寫真帖研究者徐佑驊與作家陳柔縉,述說日治時期台灣寫真帖的歷史成因、剖析帝國寫真裡的視覺殖民與觀看秩序,並從稀有的古早照片裡,尋找彼時台灣民間生活的痕跡。而在本期專欄中,張世倫透過日治時期的另一重要影像資料——圖像明信片——透析日本建立的帝國視野 ; 顧錚則以著名攝影家木村伊兵衛於1940年代在日本扶植的滿州國所拍攝的《王道樂土》,解剖攝影裡的觀看政治。
這期的Artist's Showcase單元,中國當代攝影藝術家莫毅以裂解經典的文革時期照片,在人們看著歷史影像卻又看不清真相之際,進行一趟歷史記憶的拼貼探查。蕭永盛的「台灣攝影史」連載,從馬偕牧師的日記裡發掘迷上攝影的馬偕所留下的台灣身影。Q單元則專訪身兼策展、評論、出版等多重身份的黃亞紀,以及日本攝影季刊《IMA》總編輯長太田睦子,一探他們對於當代攝影的觀察。同時特別收錄阮慶岳、沈昭良、張世倫與李威儀針對台灣攝影書閱讀與出版現象的討論對話。
本期特輯從資料蒐集、撰稿到製作都十分費時費工,特別是歷經三月太陽花學運與持續進行的反核運動,我們不得不一直停下手邊的工作走上街頭,因為國家機器的愈發蠻橫,已喪失傾聽對話的胸懷,以及對台灣永續發展的遠見 ; 當掌權者僅標舉經濟數字大餅並藉此要脅人民,終將拼出一個唯利是圖、無理想靈魂的空殼社會。我們絕不接受,並有嚴正抵抗的義務及決心。
所以,親愛的讀者,未來的編輯台可能不得不移師街頭,在道路上橫擺。因為我們關心攝影,也關心鏡頭外的現實 ; 而我們不做喜鵑,也不做寒蟬。一路併肩同行的讀者們,謝謝你們的陪伴。做為一份小刊物,我們沒有豐裕的資源和能力,但我們堅守我們僅有的骨氣與良知。
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購買本期 BUY:
www.vopmagazine.com/vop012/
訂閱VOP SUBSCRIBE:
www.vopmagazine.com/subscribe/
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Half a decade of Japanese colonial rule since 1895 marked a peak in Taiwanese photographic history as the government used photography as an important means of propaganda. The colonial government and shashin kan (photo studios) actively published all kinds of shashin cho (photo albums), displaying the economic progress and local cultures of Taiwan. These volumes of images put together a map of the early colonial times in Taiwan through the eyes of the Nihon empire.
What history has photography created? How is Taiwan "seen" as the object of photography? In this issue, we invited photography archivist Chien Yun-Pin, shashin cho researcher Hsu You-Hua and writer Chen Rou-Jin to share with us how the shashin cho came about during the Japanese colonial times, how these volumes set forth a point of view from the colonisers, and how we can piece together life in Taiwan then through these rare photographs. Meanwhile, Chang Shih-Lun explores the point of view that Japanese imperialists had established through another important visual resource——postcards——in his column, while Gu Zheng shares his analysis about Odo Rakudo, a photo book of the Japanese supported Manchukuo by well-known photographer Ihei Kimura in the 40s, giving us an insight on the political perspective.
In "Artist's Showcase", contemporary Chinese photographer Mo Yi deconstructs stereotypical images from the Cultural Revolution, taking a journey into history through a blurring of what seems appears to be historical pictures. Hsiao Yong-Sheng's "History of Photography in Taiwan" uncovers pieces of Taiwan from 1871-1901 captured by Dr Mackey in his journals. “Q” features interviews with Huang Yaji, curator, critic and publisher, and Matsuko Ota, chief editor of the quarterly Japanese photography magazine IMA, who share with us their observations on contemporary photography. This issue also covers a special dialogue between Roan Ching-Yueh, Shen Chao-Liang, Chang Shih-Lun and Lee Wei-I on the publishing and reading of photo books in Taiwan.
Immense amounts of time and effort have been spent by the team to put together this special issue, from gathering materials, drafting of the contents to the production of the magazine itself. Amidst it all were the Sunflower Movement in March and the continual anti-nuclear protests, which we feel obliged and responsible to partake in. The state apparatus in Taiwan has lost its willingness to listen and its foresight on sustainable growth, instead becoming more and more authoritarian. When those in power put economic statistics above all else and use them to threaten their people, the eventual outcome will be a ruthlessly capitalistic society without ideals and dreams. We cannot, and will not accept such a future. We are resolute in taking on the responsibility of resisting becoming a heartless society.
Therefore, dear readers, our editorial desks may have no choice but to move to the streets in the times to come. We love photography, but we also love the world beyond the lenses. We won't just paint rosy pictures, and we refuse to stay silent. We thank you, our readers, for being by our side. As a humble magazine, VOP does not have abundant resources or power, but we will stand firm, resolute and true to our conscience and beliefs.
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Voices of Photography 攝影之聲
www.vopmagazine.com
manchukuo 在 百靈果News Youtube 的最佳貼文
Chapter 3 人人都說好滿洲
在日本人統治下 (1938-1945)
They all say what a happy place Manchukuo is
Life Under the Japanese
我們的網站上線了:http://bailingguonews.wixsite.com/bailingguo
訂閱百靈果News/無料福利社 頻道:http://bit.ly/25wWa2h
每周日晚上六點鐘 全國廣播FM106 收聽百靈果news
聽聽Kylie跟Ken 用輕鬆的角度分享國際新聞
我們把高音質的檔案放在其他網路平台,歡迎大家訂閱
百靈果News的Podcast:
蘋果:http://goo.gl/k9qXxb
安卓:https://soundcloud.com/cafreeteria
Spotify : http://goo.gl/QZ1u6j
也可以到Instagram 追蹤我們喔:
Instagram:https://www.instagram.com/bailingguo_news
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