摄影术在晚清的传播

作为制造影像的方式,摄影以其生动性、直观性、即时性革新了记录历史的方式.晚清时期摄影术传入中国,将中国影像由手绘影像引向机械造像,从而开启了影像近代化历程.     

Photography and Chineseness: reflections on Chinese Muslims in Indonesia

This paper takes my previous photobook, Chinese Muslims in Indonesia (2007–09) as starting point. The paper firstly details the motivations, methodology and findings of the work. It then advances some of my thoughts on photography, with its attentive focus on the particular. Photography, or documenting (as method), frames a performative and experiential space for the sitter and the photographer to project their desires in this collaborative encounter. Here, I discuss the performative in relation both to the issue of reactivity in sociological fieldwork and the cultural turn in dakwah amongst some Chinese Muslim leaders in the post-Suharto era. The subjectivity of each encounter helps to visualise and complicate the notion of Chineseness amongst the Chinese Muslim communities in Indonesia.     

A Photography Exhibition Held to Celebrate 65th Anniversary of China-Poland Diplomatic Ties

On October 11, a photography exhi bition opened at the Science Acad emy of Poland in celebration of the 65th anniversary of the establish ment of ChinaPoland diplomatic relations. Cohosted by Chinese Embassy and the Polish Home, the exhibition＇ s opening saw the presence of some 120 distinguished guests from the political, cultural and education fields of Po land, including the former prime min ister and former parliament speaker.     

Book Review of "The Image Factory: Consumer Culture,Photography and the Visual Content Industry," by Paul Frosh

Computer games such as JFK Reloaded and 9-11 Survivor not only aim at an accurate documentation of particular events—such as the assassination of John F. Kennedy and the Twin Towers attack—but also at the playful re-enactment of these traumatic events. In this article, I discuss whether the phrase "documentary computer games" is useful in defining these games. These "docu-games" try to combine the facts of documentaries and the fiction of computer games—elements that seem hard to reconcile at first sight. Do these games create a harmonious "space of communication" in which feelings of mutual understanding occur between designers and players?