The Distorting Mirror

Laikwan Pang is associate professor in the Department of Cultural and Religious Studies, The Chinese University of Hong Kong.

出版者:University of Hawai'i Press

作者:Laikwan Pang

页数:320

出版时间:2007-11-19

价格:USD 57.00

装帧:Hardcover

isbn号码:9780824830939

图书标签:视觉文化现代性中国海外中国研究近现代史跨文化艺术史社会学

The Distorting Mirror analyzes the multiple and complex ways in which urban Chinese subjects saw themselves interacting with the new visual culture that emerged during the turbulent period between the 1880s and the 1930s. The media and visual forms examined include lithography, photography, advertising, film, and theatrical performances. Urbanites actively engaged with and enjoyed this visual culture, which was largely driven by the subjective desire for the empty promises of modernity―promises comprised of such abstract and fleeting concepts as new, exciting, and fashionable.

Detailing and analyzing the trajectories of development of various visual representations, Laikwan Pang emphasizes their interactions. In doing so, she demonstrates that visual modernity was not only a combination of independent cultural phenomena, but also a partially coherent sociocultural discourse whose influences were seen in different and collective parts of the culture. The work begins with an overall historical account and theorization of a new lithographic pictorial culture developing at the end of the nineteenth century and an examination of modernity’s obsession with the investigation of the real. Subsequent chapters treat the fascination with the image of the female body in the new visual culture; entertainment venues in which this culture unfolded and was performed; how urbanites came to terms with and interacted with the new reality; and the production and reception of images, the dynamics between these two being a theme explored throughout the book.

Modernity, as the author shows, can be seen as spectacle. At the same time, she demonstrates that, although the excessiveness of this spectacle captivated the modern subject, it did not completely overwhelm or immobilize those who engaged with it. After all, she argues, they participated in and performed with this ephemeral visual culture in an attempt to come to terms with their own new, modern self.

读后感

视觉文化与中国经验——读《哈哈镜：中国视觉现代性》 张春田 发表于：《中国图书评论》2011年第6期 大致在2000年以后，视觉文化在中国学界开始流行起来，翻译和介绍西方视觉文化理论的书籍日渐增多，比如罗岗、顾铮主编的《视觉文化读本》（广西师范大学出版社，2003...

视觉文化与中国经验——读《哈哈镜：中国视觉现代性》 张春田 发表于：《中国图书评论》2011年第6期 大致在2000年以后，视觉文化在中国学界开始流行起来，翻译和介绍西方视觉文化理论的书籍日渐增多，比如罗岗、顾铮主编的《视觉文化读本》（广西师范大学出版社，2003...

视觉文化与中国经验——读《哈哈镜：中国视觉现代性》 张春田 发表于：《中国图书评论》2011年第6期 大致在2000年以后，视觉文化在中国学界开始流行起来，翻译和介绍西方视觉文化理论的书籍日渐增多，比如罗岗、顾铮主编的《视觉文化读本》（广西师范大学出版社，2003...

视觉文化与中国经验——读《哈哈镜：中国视觉现代性》 张春田 发表于：《中国图书评论》2011年第6期 大致在2000年以后，视觉文化在中国学界开始流行起来，翻译和介绍西方视觉文化理论的书籍日渐增多，比如罗岗、顾铮主编的《视觉文化读本》（广西师范大学出版社，2003...

视觉文化与中国经验——读《哈哈镜：中国视觉现代性》 张春田 发表于：《中国图书评论》2011年第6期 大致在2000年以后，视觉文化在中国学界开始流行起来，翻译和介绍西方视觉文化理论的书籍日渐增多，比如罗岗、顾铮主编的《视觉文化读本》（广西师范大学出版社，2003...

用户评价

隐约预见自己做学术需要避免的尴尬：一边试图摆脱中西、主客体二元对立，一边很强烈地依赖对西方各视觉相关学科的主要理论家的批判来糅合自己的分析框架，略有中国视觉材料的特殊性启发新理论框架而新理论框架又被用来分析中国视觉现代性的嫌疑。尽管如此，把视觉文化看作一个mediate private subject和public socio-politico-cultural sphere之间关系的技术性环境这点在2007年已很新颖，也许是最早的民国媒体生态学？

最近很中意的

Re-read: 畫報，照片，廣告，京劇，電影，魔術

Re-read: 畫報，照片，廣告，京劇，電影，魔術

隐约预见自己做学术需要避免的尴尬：一边试图摆脱中西、主客体二元对立，一边很强烈地依赖对西方各视觉相关学科的主要理论家的批判来糅合自己的分析框架，略有中国视觉材料的特殊性启发新理论框架而新理论框架又被用来分析中国视觉现代性的嫌疑。尽管如此，把视觉文化看作一个mediate private subject和public socio-politico-cultural sphere之间关系的技术性环境这点在2007年已很新颖，也许是最早的民国媒体生态学？