This thesis examines forms of continuity and discontinuity present in historical periodization, photography and its interpretations, and two particular photography collections published in book form: Hamaya Hiroshi's Yukiguni and Kuwahara Kineo's Tōkyō Shōwa 11-nen. Hamaya's photographs in Yukiguni are evaluated against the changing image of tradition and national identity in Japan during the transwar era. Hamaya's series of photographs, which began during wartime when a discourse of Japanese national identity attempted to unify the country, was completed in the early postwar years, when national identity and tradition were employed to assert the continuity of Japanese culture despite national upheaval. Kuwahara's prewar and wartime photographs collected in Tōkyō Shōwa 11-nen are considered for their relationship to memory and nostalgia. The qualities of continuity present in the photo books, read against the discontinuities of personal and sociopolitical history, reveal the necessary conditions for the nostalgic. Finally, the rhetorical strategies of both books as postwar documents are examined.
|Commitee:||Kleinfelder, Karen, Michiko, Takeuchi|
|School:||California State University, Long Beach|
|School Location:||United States -- California|
|Source:||MAI 51/04M(E), Masters Abstracts International|
|Subjects:||Asian Studies, Art Criticism, Art history|
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