This book is the final culmination of the course "Documentary Photography: Japan" offered by Stephan Apicella-Hitchcock through the Department of Theatre and Visual Arts at Fordham University. The course description is as follows: This intensive class is designed as a platform for intermediate and advanced level students to further develop their photographic production with an emphasis on generating documentary projects focusing on the people, culture, and architecture of Japan. The megacity of Tokyo will serve as the starting point for our investigations, with image making itineraries that will take us from the cosmopolitan ward of Shinjuku, to the center of youth culture in Shibuya; and from the cutting edge fashion districts of Harajuku, to the temples and shrines of Asakusa. Concurrent with our photographic explorations we will examine contemporary exhibitions in venues such as the Tokyo Metropolitan Museum of Photography in Ebisu, as well as view the ancient collections housed in Japan’s oldest and largest museum, the Tokyo National Museum in Ueno. Traveling by Shinkansen bullet train at 300 km/h (186 mph), we will make our way south to Kyoto, the nexus of traditional Japanese culture and history with approximately two thousand temples, shrines, and gardens that we can utilize as both the catalyst and stage for our photography. The extraordinary wealth of visual stimuli we will experience in Japan over ten days will certainly inspire, as well as function as the backdrop against which to critically discuss the strategies that photographers employ in communicating their interests.
Picture recognition The 'Police Officer' and 'Librarian' picture recognition tasks each consist of five pictures in which the different activities of the person's daily routine are drawn. For example, one picture from 'Police Officer' ...
It has not been possible to identify the individuals posing in the photograph, but the two Japanese men in the photograph ... The six people are positioned as three couples; each woman is holding a bouquet of flowers with both hands and ...
When I returned from Japan, I needed a model to advertise my business in the Japanese newspaper. Here's the photo. ... Yes, she made a perfect model. ... On the average, for the bride, I handled at most about five or six people.
Morse , Anne Nishimura , " Souvenirs of ' Old Japan ' : Meiji - Era Photography and the Meisho Tradition , " in Anne Nishimura Morse , Sebastian Dobson , and Frederic A. Sharf , Art and Artifice : Japanese Photographs of the Meiji Era ...
In the second example, the same Taiwanese participant is engaged in a task with her Korean interlocutor as part of ... In my picture I think they're in a garden. ... And there are one two three four five six, six people in the garden.
For instance, Tanizaki too brings up the cinematic potential of Poe's stories, including “William Wilson,” and claims that cinema's capacity for close-ups allows it to “crystallize” nature into art and make the fantastic seem real (1917 ...
These poems, written in the classical language, are very complex and are difficult for most adult Japanese. ... Later the children colored and cut out five plates and pasted them on a picture of a table with six people.
This unique case study of the Shintani Metals Company illustrates the ways in which employees lives extend beyond their work. Japanese Working Class Lives provides a valuable alternative view of working life outside the large corporations.
48 John F. Marszalek, Sherman: A Soldier's Passion for Order (New York, 1993), 362–63. 49 Major Richard Delafield, Report on the Art of War in Europe in 1854, 1855, and 1856 (Washington, DC, 1860). 50 Luvaas, Military Legacy, 9.