The breadth and diversity of this Renaissance man?s oeuvre reveals untiring attention to and interest in the culture, art, faces, society, and politics of this country. With over 70,000 pictures taken between the 1920s and 1980s, Domon Ken is considered the supreme master of Japanese photography as well as the main exponent of realism as the only approach possible. Over the years he honed is craft, shifting from propaganda photography during the war to photography as a life?s mission, in search of his own Japan: a fascinating and silent Japan of ancient temples, Buddhist sculptures, puppet theaters (where he took refuge during the war); the seductive and expressive faces of celebrities alongside the modest ones of street urchins; the poorest Japan of mining villages; and finally his most disturbing and modern work, portraying Hiroshima and its unhealed wounds. 0 0Rosella Menegazzo is a professor of East Asian Art History at the University of Milan. Takeshi Fujimori is the artistic director of Ken Domon Museum of Photography, Sakata, Japan. 00Exhibition: Museo dell'Ara Pacis, Rome, Italy (27.05-18.09.2016).

This collection of factual reports, short stories, poems and drawings expresses in a deeply personal voice the devastating effects of the bombings of Hiroshima and Nagasaki.

Visualizing Fascism argues that fascism was not merely a domestic menace in a few European nations, but arose as a genuinely global phenomenon in the early twentieth century. Contributors use visual materials to explore fascism's populist appeal in settings around the world, including China, Japan, South Africa, Slovakia, and Spain. This visual strategy allows readers to see the transnational rise of the right as it fed off the agitated energies of modernity and mobilized shared political and aesthetic tropes. This volume also considers the postwar aftermath as antifascist art forms were depoliticized and repurposed in the West. More commonly, analyses of fascism focus on Italy and Germany alone and on institutions like fascist parties, but that approach truncates our understanding of the way fascism was indebted to colonialism and internationalism with all their attendant grievances and aspirations. Using photography, graphic arts, architecture, monuments, and film—rather than written documents alone—produces a portable concept of fascism, useful for grappling with the upsurge of the global right a century ago—and today. Contributors. Nadya Bair, Paul D. Barclay, Ruth Ben-Ghiat, Maggie Clinton, Geoff Eley, Lutz Koepnick, Ethan Mark, Bertrand Metton, Lorena Rizzo, Julia Adeney Thomas, Claire Zimmerman

The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included.

From the end of the Pacific War in 1945 to the Tokyo Olympic Games in 1964, photography blossomed in Japan as the country underwent radical change. This is a comprehensive review of this period in Japanese photography offering a tribute to the nation's strength in the face of social upheaval.

Each of the eight chapters takes a period of up to forty years and examines the medium through the lenses of art, science, social science, travel, war, fashion, the mass media and individual practitioners.-Back Cover.

The daughter of a Japanese woman and an American G.I. recounts her return to Japan in 1995 to tend to her dying grandmother and offers her thoughts on contemporary Japan, family relations, and human desire