Laikwan Pang is associate professor in the Department of Cultural and Religious Studies, The Chinese University of Hong Kong.
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.
發表於2024-12-22
The Distorting Mirror 2024 pdf epub mobi 電子書 下載
視覺文化與中國經驗——讀《哈哈鏡:中國視覺現代性》 張春田 發錶於:《中國圖書評論》2011年第6期 大緻在2000年以後,視覺文化在中國學界開始流行起來,翻譯和介紹西方視覺文化理論的書籍日漸增多,比如羅崗、顧錚主編的《視覺文化讀本》(廣西師範大學齣版社,2003...
評分視覺文化與中國經驗——讀《哈哈鏡:中國視覺現代性》 張春田 發錶於:《中國圖書評論》2011年第6期 大緻在2000年以後,視覺文化在中國學界開始流行起來,翻譯和介紹西方視覺文化理論的書籍日漸增多,比如羅崗、顧錚主編的《視覺文化讀本》(廣西師範大學齣版社,2003...
評分視覺文化與中國經驗——讀《哈哈鏡:中國視覺現代性》 張春田 發錶於:《中國圖書評論》2011年第6期 大緻在2000年以後,視覺文化在中國學界開始流行起來,翻譯和介紹西方視覺文化理論的書籍日漸增多,比如羅崗、顧錚主編的《視覺文化讀本》(廣西師範大學齣版社,2003...
評分視覺文化與中國經驗——讀《哈哈鏡:中國視覺現代性》 張春田 發錶於:《中國圖書評論》2011年第6期 大緻在2000年以後,視覺文化在中國學界開始流行起來,翻譯和介紹西方視覺文化理論的書籍日漸增多,比如羅崗、顧錚主編的《視覺文化讀本》(廣西師範大學齣版社,2003...
評分視覺文化與中國經驗——讀《哈哈鏡:中國視覺現代性》 張春田 發錶於:《中國圖書評論》2011年第6期 大緻在2000年以後,視覺文化在中國學界開始流行起來,翻譯和介紹西方視覺文化理論的書籍日漸增多,比如羅崗、顧錚主編的《視覺文化讀本》(廣西師範大學齣版社,2003...
圖書標籤: 視覺文化 現代性 中國 海外中國研究 近現代史 跨文化 藝術史 社會學
Re-read: 畫報,照片,廣告,京劇,電影,魔術
評分隱約預見自己做學術需要避免的尷尬:一邊試圖擺脫中西、主客體二元對立,一邊很強烈地依賴對西方各視覺相關學科的主要理論傢的批判來糅閤自己的分析框架,略有中國視覺材料的特殊性啓發新理論框架而新理論框架又被用來分析中國視覺現代性的嫌疑。盡管如此,把視覺文化看作一個mediate private subject和public socio-politico-cultural sphere之間關係的技術性環境這點在2007年已很新穎,也許是最早的民國媒體生態學?
評分隱約預見自己做學術需要避免的尷尬:一邊試圖擺脫中西、主客體二元對立,一邊很強烈地依賴對西方各視覺相關學科的主要理論傢的批判來糅閤自己的分析框架,略有中國視覺材料的特殊性啓發新理論框架而新理論框架又被用來分析中國視覺現代性的嫌疑。盡管如此,把視覺文化看作一個mediate private subject和public socio-politico-cultural sphere之間關係的技術性環境這點在2007年已很新穎,也許是最早的民國媒體生態學?
評分impressive. theoretical and subtle.
評分翻過第一章,用點石齋畫報做例子來研究晚清visual turn和modernity之間的聯係,說點石齋畫報中的畫是中國語境下的realism,與西方impressionism正相反的是一種mimeticism,這真的很有問題。。。
The Distorting Mirror 2024 pdf epub mobi 電子書 下載