Skip to main navigation menu Skip to main content Skip to site footer

Vol. 68 No. 3 (2024)

Articles and essays

Japanese Emancipatory Photography: A Brief Look at the Work of Nagashima Yurie

DOI: https://doi.org/10.35757/KiS.2024.68.3.5
Submitted: February 7, 2024
Published: September 19, 2024

Abstract

The article discusses the issue of depicting the female body in Japanese photography based on the work of Nagashima Yurie. The artist began her career in the nineties of the twentieth century, creating nude self-portraits. In 1996, a well-known Japanese photo critic called her a promoter of the so-called “girl's photography" (jap. onna no ko shashin). However, the term had negative connotations and disregarded the female artists who were referred to by it. Nagashima took up a polemic not only with the academic community, but also with the accepted norms of depicting in photographs. In her work, Nagashima drew attention to the problem of sexualization of the female body in Japanese photography. With the use of parody, she began a polemic with the majority of artists who used women as the main motif in their works. Through her work, she also initiated a public debate on the role of women using audiovisual arts in their activities.

References

  1. Alochno-Janas Anna, 2012, Estetyczna transgresja. Akt w świetle teorii feministycznych, w: Natalia Majchrzak, Natasza Starik, Andrzej Zduniak (red.), Podmiotowość w edukacji wobec odmienności kulturowych oraz społecznych zróżnicowań, t. 2, Wyższa Szkoła Bezpieczeństwa, Poznań.
  2. Berger John, 1997, Sposoby widzenia, tłum. Mariusz Bryl, Rebis, Poznań.
  3. Chaudhuri Shohini, 2006, Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed, Routledge, New York.
  4. Dickerman Kenneth, 2020, Over Two Decades, This Photographer Created a ‘Family Album’ Documenting the Dissolution of His Family, „The Washington Post” (https://www.washingtonpost.com/photography/2020/01/10/over-two-decades-this-photographer-created-family-album-documenting-dissolution-his-family/ [dostęp: 27.04.2021]).
  5. Frédéric Louis, 1988, Życie codzienne w Japonii u progu nowoczesności (1868–1912), tłum. Eligia Bąkowska, Państwowy Instytut Wydawniczy, Warszawa.
  6. Jakubowska Honorata, 2009, Socjologia ciała, Wydawnictwo Naukowe UAM, Poznań.
  7. Kosuga Tomo 2019, Father Figure: Masahisa Fukase Transformed the Ritual of the Family Portrait into a Source of Play and a Memento Mori, „Aperture” [online] (https://issues.aperture.org/article/2018/4/4/father-figure [dostęp: 27.04.2021]).
  8. Laqueur Thomas, 1992, Making Sex: Body and Gender from the Greeks to Freud, Harvard University Press, Cambridge.
  9. Łuksza Agata, 2013, Preparowanie „Kobiety”: Co łączy rozkładówkę i Wenus z Milo?, „Naukowy Przegląd Dziennikarski”, nr 3, s. 3–43.
  10. Mey Kerstin, 2007, Art and Obscenity, I.B.Tauris, London.
  11. Michna Natalia Anna, 2018, Kobiety i kultura. O doświadczeniu w filozofii feministycznej, Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków.
  12. Modleski Tania, 2014, Feminism without Women: Culture and Criticism in a Postfeminist Age, Routledge, New York.
  13. Mulvey Laura, 1989, Visual and Other Pleasures, Indiana University Press, Bloomington.
  14. Nagashima Yurie, 2016. Yurie Nagashima: Where Now Are the Dreams of Youth?, „Landscape Stories” (https://landscapestories.net/en/interviews/2016/yurienagashimawherenowarethedreamsofyouth [dostęp: 07.04.2021]).
  15. Nagashima Yurie, 2017, Yurie Nagashima: And a Pinch of Irony with a Hint of Love, „Tokyo Art Beat” (https://www.tokyoartbeat.com/tablog/entries.en/2017/11/yurie-nagashimas-and-a-pinch-of-irony-with-a-hint-of-love.html [dostęp: 19.04.2021]).
  16. Nagashima Yurie, 2020a, A Conversation with Yurie Nagashima, „Conscientious Photography Magazine” (https://cphmag.com/conv-yurie-nagashima/ [dostęp: 24.11.2020]).
  17. Nagashima Yurie, 2020b, A Life with Pictures: Yurie Nagashima’s Self-Portraits, „Conscientious Photography Magazine” (https://cphmag.com/a-life-with-pictures/ [dostęp: 12.04.2021]).
  18. Nagashima Yurie, 2020c, Bokura no „onna no ko shashin” kara watashitachi no gārī foto e, Daifuku shorin, Tokio.
  19. Nagashima Yurie, 2020d, How Yurie Nagashima’s Self-Portraits Interrogate the Male Gaze, „MutualArt”, interview by Lesley A. Martin (https://aperture.org/interviews/how-yurie-nagashimas-self-portraits-male-gaze [dostęp: 12.04.2021]).
  20. Nagashima Yurie, 2020e, Yurie Nagashima on Self-portraits, and Writing Her Own History, „British Journal of Photography” (https://www.bjponline.com/2020/07/yurie-nagashima [dostęp: 02.11.2020]).
  21. Nead Lynda, 1998, Akt kobiecy. Sztuka, obscena i seksualność, tłum. Ewa Franus, Rebis, Poznań.
  22. Pietrzak Edyta, 2007, O feminizmie, mediach, nowych technologiach i dyslokacji sfery publicznej, „Civitas Hominibus. Rocznik Filozoficzno-Społeczny”, nr 2, s. 89–96.
  23. Potocka Maria Anna, 2010, Fotografia, Wydawnictwo Aletheia, Warszawa.
  24. Ruddy Sarah, 2009, „A Radiant Eye Yearns from Me”: Figuring Documentary in the Photography of Nan Goldin, „Feminist Studies”, t. 35(2), s. 347–380.
  25. Sontag Susan, 2017, O fotografii, tłum. Sławomir Magala, Karakter, Kraków.
  26. Strnad Grażyna 2011, Feminizm amerykański trzeciej fali — zmiana i kontynuacja, „Przegląd Politologiczny”, nr 2, s. 19–27.
  27. Załęska Agnieszka, 2016, Akt — nowa odsłona cielesności i kobiecości w nowoczesnym malarstwie japońskim, w: Agnieszka Kozyra, Iwona Kordzińska-Nawrocka (red.), Cielesność w kulturze Japonii, t. 2: Religia, historia i sztuka, Japonica, Warszawa.

Downloads

Download data is not yet available.