Naoya Hatakeyama and the photographic representation of post-tsunami landscapes in Japan
- Submitting institution
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Nottingham Trent University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 12R - 1325058
- Type
- D - Journal article
- DOI
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10.1386/jcca.3.3.355_1
- Title of journal
- Journal of Contemporary Chinese Art
- Article number
- -
- First page
- 355
- Volume
- 3
- Issue
- 3
- ISSN
- 2051-7041
- Open access status
- Out of scope for open access requirements
- Month of publication
- December
- Year of publication
- 2016
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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B - Design Research Centre
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- This article investigates the role that art photography played in relation to the earthquake and tsunami that hit Japan in March 2011. The article focuses on an ethical and moral debate that emerged amongst Japanese photographers who questioned how the disaster and its aftermath can be, or indeed should be, represented in a photograph. At the forefront of this debate was the photographer Naoya Hatakeyama whose personal connection to the region turned him into a quasi spokesperson for his profession. Building on Weisenfeld’s book ‘Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923’ published in 2012, the article situates post-tsunami photography in relation to wider photographic trends in Japanese visual culture. The paper was produced on the back of two successful competitive funding bids: a Japan Foundation Fellowship in 2015 (circa £7,000) as well as a JSPS Post-Doctoral Fellowship in collaboration with Ritsumeikan University in Kyoto, Japan in 2016 (circa JPY 1.2 Million). Through an international Call for Papers, the paper was selected as one of only 13 scholarly articles for publication in the Special Issue ‘Contemporary art and ecology in East Asia’ published in the ‘Journal of Contemporary Chinese Art’ in 2017. The paper was peer reviewed by the editors of the Special Issue ZHENG Bo, City University Hong Kong and Sohl Lee, Stony Brook University. In the introduction to the Special Issue, the editors write that ‘Bohr conducts detailed analysis of Hatakeyama’s photographic decision to locate the ethics of the photographic medium, and its relation to memory, truth and reality.’ Subsequent to publication in 2017, Bohr’s paper has been cited in the Japanese language volume ‘Anthropology of Landscape: On Representation of Nature, Cities, and Memories’, published in 2020 by Sangensha – one of Japan’s premier academic publishers.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
