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Seite 170
However, Fujioka's critique of the war photographs goes far beyond correcting
Chang's mistakes, and it is worth looking in some detail at his discussion,
because it relates to profound problems of the nature of photographic truth.
Fujioka starts ...
However, Fujioka's critique of the war photographs goes far beyond correcting
Chang's mistakes, and it is worth looking in some detail at his discussion,
because it relates to profound problems of the nature of photographic truth.
Fujioka starts ...
Seite 172
wa, ichimai mo sonzai shinah, Fujioka defines all the objects of his attack as
being equally "faked" or "lying" photographs, and contrasts them with selected "
true" photographs (drawn from wartime Japanese magazines) whose
provenance, ...
wa, ichimai mo sonzai shinah, Fujioka defines all the objects of his attack as
being equally "faked" or "lying" photographs, and contrasts them with selected "
true" photographs (drawn from wartime Japanese magazines) whose
provenance, ...
Seite 176
(Figure 10) ln both these photographs the child's expression is precisely the
same: an unblinking stare of totally blank ... developed them in the studios run by
his father, Yamahata Shogyoku, who was also a prominent war photographer.
(Figure 10) ln both these photographs the child's expression is precisely the
same: an unblinking stare of totally blank ... developed them in the studios run by
his father, Yamahata Shogyoku, who was also a prominent war photographer.
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Inhalt
BERGER TABLE OF CONTENTS | 4 |
AN ARCHAEOLOGICAL PROJECT | 27 |
Commentary | 33 |
Urheberrecht | |
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