【現代の若手社員が背負っているリスク】
本題に入る前に、近況報告を2つほどさせてください。
一つ目は、昨日もテレビ朝日さんの番組に出させていただいたのですが、ここから映画『えんとつ町のプペル』の公開までの間、キンコン西野にしては結構テレビに出ます。
https://youtu.be/1g6Ca_UjOrs
べつに芸能界を引退したではないのですが、「作品を作って届ける」というのは、時間を要する作業でして……なかなか、出役として表に出れないんですね。
「出役としての才能もそんなに無い」という理由もありますが(涙)
なので、基本的に僕のスケジュールは、アトリエに籠るか、公園を散歩しながら一人でブツブツ言ってるヤバいオッサンをやるか……で、おそらく御近所さんからは、「あいつは仕事があるのか?」という心配をされています。
一応、働いていると思うんですけど、表に出てないと、そうなっちゃうんです。
ただ、今回は、結構いろんな番組に出させていただくので、御近所さんも安心させられるんじゃないかと思っております。
また、オンエア情報が出次第、逐一、ご報告させていただきます。
次に、二つ目の近況報告です。
僕はイイ人と思われたくて、支援活動めいたものを結構積極的にやっているのですが、そんなことをしていたら「僕も、私も、協力したい」という神様のような方が出てきてくださって、その結果、「えんとつ町のプペル『こどもギフト』」というプロジェクトが立ち上がったんです。
【こどもギフト】
https://salon.jp/child_gift
これは、「世界中の子供達に絵本を毎月1冊の絵本を贈る」という「支援のサブスク」で、ご自身のお小遣いの中から、会社の売り上げの中から、毎月2000円を支援してくださる方が、今現在、846名もいます。
つまり毎月846冊の絵本が子供達に届くわけですね。毎月です。
これが成立しているのって本当に凄いことで、どこかでキチンと取り上げた方がいいテーマだなぁと思っております。
そんなこんなで先日は沖縄の「兼原小学校」と「赤道小学校」の1年生〜3年生まで全員に絵本をプレゼントしてまいりました。
その時の模様は「えんとつ町のプペル『こどもギフト』」の支援者グループの方に活動報告として出させていただいております。
『こどもギフト』は需要があるかぎり、生涯続けていこうかなぁと思っている活動ですので、興味がある方は是非、のぞいてみてください。
さて、そんなこんなで今日の本題です。
労働基準法の改正ってチョコチョコおこなわれていて、今年の4月にも改正されて、たしか時間外労働の上限が「月に45時間・年間360時間」とかなんです。
それを超えると罰則があるんです。
ちなみに、一般的な労働時間は1日8時間。
これを僕におきかえた時に、僕、大体、一日18時間〜20時間ぐらい働いているんですね。
仮に18時間だとしたら、労働基準に照らし合わせると、僕の1日の時間外労働が10時間。
月に300時間。
年間にすると3600時間です。
でも、労働基準法の上限は、月に45時間。年間360時間じゃないですか?
ちゃんと働いている人は、時間外労働でいうと、僕の1/10の時間しか働いていないわけです。
もちろん「働いている時間が長ければ、いい結果になる」という話じゃありませんが、よっぽど時間の使い方が上手い人じゃないかぎり、仕事の結果というのは労働時間に概ね比例すると思います。
「いやいや、仕事の時間を削って、家族との時間を作りたいんだ」というのであれば話は別です。
それは幸せの一つの形ですし、他人がどうこう言えるものじゃありません。
そうじゃなくて、シンプルに「成り上がりたい」と思っている人に対して、労働基準法というのは、なかなか厄介なハードルだなぁと思っております。
それともう一つ。
昨日、ウチの田村Pが、オンラインサロン内で、ウチの若手スタッフに対して、一言で言うと「お前ら、ナメなよ」という記事を投稿したんですね。
【西野亮廣エンタメ研究所】
https://salon.jp/nishino
ちょっと説明がややこしいんですけど……今、「全国の子供達に映画『えんとつ町のプペル』をプレゼントしたい!」というクラウドファンディングを実施していて、クラウドファンディング上で、「映画『えんとつ町のプペル』をプレゼントして欲しい」という子供施設と、「映画『えんとつ町のプペル』をプレゼントしたい」という大人をマッチングしているんです。
ちなみに、もし、期間中にマッチングしなければ、僕が自腹で子供施設にプレゼントさせていただくので、手を挙げてくださった子供施設には100%、映画『えんとつ町のプペル』の前売り券がプレゼントされます。
で、例えば、愛知県の○○幼稚園から手が挙がれば、すぐに「○○幼稚園に支援できる権」というものを、クラウドファンディングのリターンで出して、かつ、「新しいリターンが出ましたよ」ということをご報告する為に、僕がそのリターンをスクショして、画像を整えて、支援先のリンクを貼って、サロン内にある各県人会に投げていたんです。
愛知の幼稚園から手が挙がれば、「愛知県人会」の投稿に、「○○幼稚園から手が挙がりました〜」というご報告を。
やっぱり、「地元を応援したい」という気持ちがあると思うので。
で、僕は、映画やら何やらを作っている合間を見つけて、その作業をずっとやっていたのですが……その作業を僕がやっていることはウチの若手スタッフは全員知っているんですね。
それに対して、田村Pから雷が落ちまして……まぁ、要するに「なんで、西野亮廣に事務作業をやらせとんねん」です。
「西野亮廣が今、どれだけ大変な思いをして映画を作っているかお前ら知ってるやろ。制作に集中させてあげるべきやし、休ませてあげろや。お前らは事務作業をしている西野亮廣をなんで見て見ぬフリをしとんねんっ!」という大雷が落ちました(笑)
ウチの会社は「社内で起きていることは全部ネタにする」をモットーに、業務連絡ですらサロンの記事でおこなっていたりするのですが、今回は雷が落ちました。
田村Pは株式会社NISHINOの社員じゃないので、「外野の意見」として、それが言えたわけですね。
【田村サロン】
https://salon.jp/tamura
こういうのって、今「パワハラ」みたいに扱われてしまうので、なかなか言えないじゃないですか。
ただ、若手の未来を思うと、「とびっきりの愛を持って叱る」というのは絶対に大事で、僕も先輩に山ほどしごかれたクチなんですけど、今は感謝しかないんですね。
あそこで、しごかれないまま40才になっていたことを思うと、ちょっとゾッとします。
ウチの若手はタフなので、「田村Pに怒られたことをネタにして喋る会」というイベントを開催するらしいのです(最高!)
そろそろ話をまとめますね。
今、20代の方は労働基準法の改正や、「パワハラ」と言える権利を持ったことで、かなり守られている反面(これはとても素晴らしいことだと思います!!)、「労働時間による下克上を起こしにくくなっている」ということと、「しごかれなくなっている」という大きすぎるリスクを背負っていることは、把握しておいた方がいいと思います。
これらは安全とトレードオフの関係なので、そこは上手にやりくりしてみてください。
超絶応援しています。
▼西野亮廣の最新のエンタメビジネスに関する記事(1記事=2000~3000文字)が毎朝読めるのはオンラインサロン(ほぼメルマガ)はコチラ↓
https://salon.jp/nishino
▼Instagram版はコチラ↓
https://nishino73.thebase.in/items/25497065
━━━
2020年12月25日公開!
映画『えんとつ町のプペル』
▼オンラインムビチケ(特典付き)の購入はこちら↓
https://mvtk.jp/Film/070395
[the risk of modern young employees carrying]
Before you enter the chase, let me have about 2 status reports.
The first one was also on tv asahi's program yesterday, but from here to the release of the movie ′′ a town ′′ I'm going to go to the tv for xin nishino.
https://youtu.be/1g6Ca_UjOrs
I haven't retired from showbiz, but it's a work that takes time to make a piece and deliver...... it's quite a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of
There is also a reason why ′′ there is no talent as a role ′′ (tears)
So, basically, my schedule is going to go to the atelier, or I'm going to do a crazy old man who is mumbling alone while walking around the park...... and probably from the neighbor," he's a job I'm worried that there is?"
I think I'm working in case, but if you don't get on the table, it's going to be.
It's just that this time, I'm going to be on a lot of shows, so I'm thinking that the neighbors will be able to feel relieved too.
Also, as soon as the air information comes out, we will report it.
Next is the second status report.
I want to be a good person, and I'm doing a lot of support activities, but if I'm doing that, I'm going to have a good time with God, ′′ I want to cooperate too ′′ Please come, the result," the project called ′′ Children's gift ′′ in a town has stood up.
[Children's gift]
https://salon.jp/child_gift
This is the ′′ Sub-Sook of support ′′ called ′′ giving a picture book to children around the world," from your own pocket money, from the sales of the company, every month 2000 There are now 846 people who support the yen.
In other words, 846 picture books each month will reach the children. It's every month.
It's really amazing that this is being completed, and I think it's better to be featured somewhere.
This is how the other day, I present a picture book to all of you from the 1th grade to the 3th grade of the ′′ and elementary school ′′ in Okinawa.
The pattern of the time is to be issued as an activity report to the supporters group of ′′ Children's gift ′′ in a town.
′′ Children's gift ′′ is an activity that you think you should continue for life as long as there is a demand, so if you are interested, please try it.
Well, that's how today's chase.
The revision of the labor standards law has been held in chocolate chocolate, and it has been revised this April, and the limit of the outside labor is ′′ 360 hours a month ′′
Beyond it, there is penalties.
By the way, general working hours are 8 hours a day.
When I get this to me, I'm mostly working about 18 HOURS TO 20 hours a day.
If it'S 18 hours, in light of the labor standards, my 1th time outside labor is 10 hours.
300 hours a month.
It's 3600 hours in a year.
But the limit of the labor standards law is 45 hours a month. Isn't it 360 hours a year?
People who work properly are only working for my 1/10 hours in time outside labor.
Of course, it's not a story that ′′ if you have time to work, it will be a good result but as long as it's not a person who is good at using time, I think that the result of the work is generally proportional to the labor time.
′′ No no, I want to sharpening my work time and make time with my family if you say, it's different from the story.
It's one form of happiness, and it's not what others can say.
It's not so much, I think that the labor standards law is quite a messy hurdle for people who think it's simple to ′′ want to upstart ′′
Or another one.
Yesterday, our tamura p posted an article called ′′ you guys don't disrespecting ′′ in the online salon.
[Ryo Nishino Institute of entertainment]
https://salon.jp/nishino
It's a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of So, I'm matching an adult called ′′ I want you to present the movie ′′ a in the town ′′ and ′′ I want to present the movie ′′ a in the town,"
By the way, if you don't match during the period, I'll give you a present to the children's facility with a streamline, so I'm going to have a 100-Year-old child facility that raised my hand %, movie ′′ a town ′′ Advance tickets will be present.
So, for example, if you get your hands from the ○○ Kindergarten in Aichi Prefecture, you will soon be able to put out the ′′ right to support kindergarten ′′ on the return of crowdfunding, and," new return Is out to report that I sook the return, made the image, put on the link of the support, and throw it to each prefecture meeting in the salon.
If you have a hand from aichi's kindergarten, you will be able to post the ′′ Aichi Prefecture Association ′′," ○○ I got a hand from kindergarten ~"
I think I have a feeling that I want to support my hometown.
So, I found the middle of making movies and things, and I've been doing the work for a long time...... I know all my young staff who are doing the work.
On the other hand, the thunder fell from tamura p...... well, in short, ′′ why don't you let ryo nishino do clerical work......
′′ I know how hard ryo nishino is making a movie right now. Let me focus on the production, let me rest. Why don't you guys pretend not to look at ryo nishino, who is working on clerical work!" the big thunder has fallen (lol)
My company is the motto of ′′ everything happening in the company is a story even in business contact, it's a salon article, but this time the thunder has fallen.
Tamura p is not an employee of Nishino Co Ltd. So it was said as a ′′ outfield opinion,"
[Tamura Salon]
https://salon.jp/tamura
This kind of thing is now treated like ′′ power harassment so you can't quite say it.
It's just that when I think of the future of young people, it's absolutely important to say ′′ I'm going to spell with a kickin ' love," and I'm also a lot of people who have been able to do a lot of things to do with my senior, but now I'm I'm sorry.
It's a bit grossed out when I think that I was 40 years old without being there.
My young man is tough, so I'm going to hold an event called ′′ a meeting to talk about being angry by tamura p," (the best! ()
I'm about to put together a story.
Now, the 20 s are pretty protected by the revision of the labor standards law and the right to say ′′ power harassment ′′ (I think this is such a great thing!!)," I think it's better to figure out that it's hard to wake up the gekokujo by labor time, and it's too big to be a risk of ′′ being a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit
These are safety and trade-off relationships, so try to make it well there.
I'm really rooting for you.
▼ an article about the latest entertainment business of ryo nishino (1 articles = 2000 to 3000 characters) can be read every morning online salon (almost mail magazine) is here ↓
https://salon.jp/nishino
▼ Instagram version is here ↓
https://nishino73.thebase.in/items/25497065
━━━
Released on December 25, 2020!
The movie in a town ′′
▼ Buy Online Bangabandhu (with perks) here ↓
https://mvtk.jp/Film/070395Translated
同時也有1部Youtube影片,追蹤數超過9萬的網紅Smart Travel,也在其Youtube影片中提到,展出期將由五月二十四日 至 六月二十二日。 Voxfire Gallery 聲花畫廊 香港上環結志街52號一樓 (入口在鴨巴甸街) 聲花畫廊,一個致力推動本地藝術創作的畫廊,為你帶來本地年輕藝術團體 Swallow Up 之『 英雄勿念』混合媒體藝術作品展覽,並將於上環聲花畫廊舉行。 由兩...
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ϟϟ 新刊發行 NEW RELEASE ϟϟ
Voices of Photography 攝影之聲
Issue 18 : 攝影書作為方法
Photobook As Method
作為一份持續關注影像閱讀與攝影出版的刊物,《攝影之聲》繼2012年製作「台灣攝影書特輯」並在2014年展開「台灣攝影書出版對話」,我們試圖以兩年為跨度來記錄台灣的攝影/出版發展歷程。今年我們再度啟動出版專題,從「書」的路徑來檢索攝影樣態,期待透過不斷地討論和書寫,為未來留下一份當代攝影文化觀察報告。
為籌備本期專題,我們公開徵集去年度的台灣攝影出版品,收到了從出版社到創作者個人製作出版的各類型攝影書籍與手工書,展現著攝影的多樣面貌,將在本期選錄介紹;同時也邀請藝術學者/藝評人龔卓軍、張世倫與平面設計師聶永真,針對台灣攝影出版品的視覺、 創作、設計、歷史乃至出版市場的向度進行剖析與評述對話。此外,我們更連結新加坡、菲律賓、日本、中國和澳大利亞等新興攝影書收藏機構及出版者,分別提出攝影書的亞太-在地視點,作為區域性的攝影出版側寫考察。
本期另專訪台灣影像學者陳學聖,一探他投入多年 並於近日發表的攝影史研究——1911至1949 年的民國時期攝影——在這段風雨時代裡發掘攝影藝術的蔓生、攝影畫報的光輝歲月,以及民國攝影在台灣的餘響,並揭載其多本罕見的早期攝影書刊收藏。另外還有兩篇關於攝影書的評論,包括陳佳琦深度評寫攝影家阮義忠近期復返再現的八○年代影像,以及梁秋虹以《韓國攝影史》探討殖民與去殖民的攝影史觀。蕭永盛的「台灣攝影史」系列連載,則從乙未戰爭後日本近衛師團長北白川宮能久登陸台灣的寫真留影,探查日本早年欲以神道主義統治台灣的歷史線索。而在 Artist's Showcase單元,我們收錄木村伊兵衛攝影獎得主石川竜一的沖繩肖像系列,以及由他自述的沖繩人圖繪與仍在路上的攝影生涯。
除此之外,本期我們也要向另翼/獨立媒體前輩「綠色小組」致敬!綠色小組成立於1986年,在台灣解嚴前後時期,扛著攝影機前進各類社會運動前線,突破當時由政府官方與少數主流媒體掌控的言論與視線空間,為台灣重要的社會改革進程留下了珍貴的影像紀錄。在綠色小組成立30周年之際,除了五月的台灣國際紀錄片影展播映綠色小組當年拍攝的一系列影片,我們也在本期《SHOUT》製作了一部小型的紙上紀錄片;另外,並邀紀錄片影展策展人林木材執筆撰文,重探台灣充滿衝撞的綠色年代。
在本期專欄中,張世倫長篇評析由黃亞歷導演、講述日治時期文學團體「風車詩社」與台灣現代文學發展經 歷的紀錄電影——《日曜日式散步者》;顧錚則以瑞士日前舉行的「世界之像」(World Images)攝影展,質問當代攝影與現實的錯綜關係。
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www.vopmagazine.com/vop-018/
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www.vopmagazine.com/subscribe/
As a magazine concerned with the interpretation of images and photography publications, VOP has featured special showcases like the “Taiwan Photobook Issue” in 2012 and “Dialogue On Taiwan Photobook Publishing” in 2014. This year we launch another showcase which explores books to see the development of photography, with the hope of leaving the future with a report on the photography culture of today through discussion and writing.
In preparation of this issue’s showcase, we called for submissions of photography publications in Taiwan last year, which saw a variety of photography books and handmade books from both publishers and individual authors submitted, featuring many facets of photography which would be selected for this issue. At the same time, we invited scholars-cum-critics like Jow-Jiun Gong and Shih-Lun Chang and designer Yung-Chen Nieh to engage in dialogue to critique and comment on aspects such as the visual effects, design, history right up to the publishing market’s direction of growth in Taiwan. Also, we specially put together a feature connecting new photography organizations and publishers from the Asia-Pacific region, such as those from Singapore, Philippines, Japan, China and Australia etc, highlighting the Asia-Pacific viewpoints as a prolific study of regional photography publishing.
This issue carries an interview with photography academic Hsueh-Sheng Chen, looking into a research area which he had spent years on and recently released findings on-- Republican Chinese photography from 1911 to 1949, talking about the development of photographic art in this tumultuous period, the glorious years of photography pictorials and the remaining influence of Republican Chinese photography in Taiwan, while sharing his prize collection of rare, early photography publications. Along with this are reviews of photography books, including Chia-Chi Chen’s in-depth critique of I-Jong Juan’s recent efforts to re-present images of the 1980s and Chiu-Hung Liang’s discussion on the perspectives of colonization and de-colonization in photography using A History of Korean Photography. Our feature Yong-Seng Hsiao’s History of Photography in Taiwan series focuses on post-Yi-Wei War Japanese Guards Division chief Kitashirakawanomiya Yoshihisa’s photographs taken after his landing in Taiwan, exploring the history of the tactics of Japanese colonial masters in using Shinto idealism to enhance their rulership of Taiwan. We present Kimura Ihei Memorial Photography Award winner Ryuichi Ishikawa’s series of Okinawan portraits in our Artist’s Showcase, along with his own story on Okinawans’ art and his photography journey.
In addition, we would like to show our special respect to our alternative/independent media veterans, Green Team! Established in 1986, Green Team recorded many social movements on the frontline in post-martial law Taiwan with a handheld video camera, breaking through the controls of speech and perspectives the government and a few mainstream media presented. They helped preserve precious footage of Taiwan’s important social revolutions. In commemoration of Green Team being established 30 years ago, besides screening a series of their past works at the Taiwan International Documentary Festival(TIDF) in May, we also made use of their shots in the making of a mini on-paper documentary in the current issue of SHOUT as well as had the curator of the Documentary Festival, Wood Lin author an article to re-examine Taiwan’s conflict-filled past.
In this issue’s columns, Shih-Lun Chang gives us a detailed critique of director Ya-Li Huang’s documentary which talks about Le Moulin, a literary organization centred around Surrealistic Literature in the period of Japanese rule, while Zheng Gu’s piece makes use of the “World Images” photography exhibition held recently in Switzerland to question inter-relations between modern photography and reality.
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Voices of Photography 攝影之聲
www.vopmagazine.com
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▒ Voices of Photography 攝影之聲 ▒
Issue 15 : 影像的左邊
The Left Side of Images
攝影,做為一種運動方法,本期我們關注一個批判視野——左翼——在影像上的實踐與歷史意義。
影像有「左」、「右」之分嗎?這是我們提出的第一個問題。當資本主義襲捲全球,成為人們意識形態與生存依附的重心,攝影如何左翼?如果攝影有「左」、「右」之分,那麼,影像的左邊會是什麼呢?左翼的影像又如何成立?我們思索這個命題,提出許多問號。在世界向右傾斜之際,我們質問攝影的反叛能量和政治實踐,試圖透過本期專題摸索、探訪。也許在暗箱某處,依然有一個遊蕩的幽靈,一絲理想主義星火,以及一段歷史洗印的痕跡。
在這期的《攝影之聲》中,何經泰的《白色檔案》召喚台灣五○年代白色恐怖時期幽禁的紅色青春,逆溯一段晦暗的台灣歷史;林深靖回首台灣左翼崎嶇的路徑興衰,以及國際左翼的當前發展;張世倫透過八○年代《人間》雜誌帶動的現實主義攝影風潮,論析左翼理念的人道關懷對台灣紀實攝影的影響與「後人間」時代的攝影變貌;關曉榮從自身攝影工作實踐出發,探索影像的「左」、「右」語彙;郭力昕梳理台灣紀錄片的左翼課題,並同時訪談北京電影學院教授張獻民,側寫當代「左翼紀錄片」的中國語境;顧錚深掘中國「文革」時期左派影像的產製與意識形態塑型,對這場極左運動的視覺政治提出深入的批判分析;李威儀尋究1967年香港「六七暴動」期間左翼陣營出版的多本攝影畫刊,一探這起香港史上最大規模左翼鬥爭風暴中的影像史觀;金子隆一以六○年代世界反叛浪潮下的日本「新左翼」反體制運動,思索日本攝影的抵抗理路。而本期夾帶的《SHOUT》,則重現1930年代初由「台灣赤色救援會」編寫並遭日本殖民政府查禁的無產階級宣傳小冊——《三字集》,重讀台共黨人留下的歷史詩篇。
此外,五月我們也在東京策劃了一次難得的對談,邀請到在1968年間、記錄日本最具代表性的重要學生運動——日大及東大「全共鬥」——的資深攝影家北井一夫和渡辺眸,回顧他們親歷見證的一段過激革命年代。這也是屬於當時極少數得以進入學生組織內部拍攝的兩人,在近半個世紀後,首度對於日本這場歷史性的學潮鬥爭展開的影像對話。
在Artist's Showcase單元,我們則特別專訪中國攝影家徐勇,刊載了他近期發表的最新作品——《底片》。1989年,徐勇在北京天安門廣場拍下了中國最為浩大的民主運動後,終於在今年將這些影像以負片形式集結顯影。即使26年過去,「六四」至今依舊是中國當局的禁忌話題。廣場上的靈魂仍在怒吼,而我們將試著在一幀幀的負像畫面裡,尋找歷史的正像與攝影的含意。
謝謝正在閱讀的你又與我們一起迎接新的一期,這些日子以來我們透過這本雜誌聚在一起,探求攝影的本質、歷史與文化關係,成為影像思考裡的一道新的力量。這條獨立出版的路雖仍然走得艱辛,但希望我們能走得悠長。在這裡也再次誠摯地向支持著這份刊物前行的所有讀者伙伴們致意。
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In this issue of VOP, we explore the idea of photography as a channel of movement, focusing on the critical analysis of a particular point-of-view — the left wing — and its actualization and importance in the history of images.
The first question we raised is: are there “Leftist” and “Rightist” images? How can Leftist images be amongst the waves of global capitalism, which people center their opinions and survival on? If there are “Leftist” and “Rightist” images, what are Leftist images then? How are Leftist images established? As we examine this issue, many questions remain to be answered. As the world tilts to the Right, we question photography’s ability to revolt and its political impact. Through our articles in this issue, we seek for that elusive spirit that might still reside in some long forgotten corner, and uncover some traces left behind in our history that might give us a hint of the answers to our questions.
In this issue, Ho Ching-Tai’s White Terror Files calls out to the souls locked up during the period of martial law (also known as the White Terror period) and traces back to a time of darkness in the history of Taiwan; Lin Shen-Chin looks back on the ups and downs of the Left Wing movement in Taiwan, and the current developments of the Left Wing movement on the international stage; Chang Shih-Lun examines the realist photography movement in the 1980s, brought about by the Ren Jian magazine, and how the humanist compassion of the Left influenced Taiwanese documentary photography, and changes to the photography landscape in the post-Ren Jian era; Guan Xiao-Rong takes a look at what Left and Right mean in the context of photography, based on his own experiences in the photography field; Kuo Li-Hsin explores the Left Wing issues in Taiwan documentaries, and interviews Beijing Photography Institute’s Professor Zhang Xian-Min, examining modern Leftist documentaries in China’s context. Gu Zheng uncovers the production and ideology behind the Leftist images in China’s Cultural Revolution era, and gives an in-depth critique and analysis of the extreme Leftist visual propaganda during that period of time. Lee Wei-I seeks out a series of illustrated propaganda books published by the Left during the Hong Kong 1967 Leftist Riots and gives us a glimpse into one of the most turbulent periods of time in Hong Kong’s Leftist history. Kaneko Ryuichi offers some insights on Japan’s photographic resistance through a closer look at the new Leftist “Anti-Establishment” Movement of the 1960s. In this issue’s SHOUT, we recreate a proletariat propaganda publication Three Word Book by the Taiwan MOPR that was banned by the Japanese colonial government. A look at the mark left behind by the the Taiwan Communists.
In addition, we were very fortunate to have the rare opportunity to speak with the photographers of the 1968 Tokyo University Zenkyoto Protests, Kitai Kazuo and Watanabe Hitomi, who documented one of the most iconic student protests in Japan. We talked to them about their experiences and accounts of that turbulent era 50 years ago. This interview marked the first time that the two of them have shared their experiences as there were very few photographers who were allowed into the student body to document the movement.
This issue of Artist’s Showcase features a special interview with Chinese photographer Xu Yong, along with selections from his recently published works Negatives. After shooting the biggest democratic movement in the history of contemporary China, Beijing’s 1989 Tiananmen Square protests, Xu Yong has finally published these images this year in the form of negatives, where the passion on the Square is frozen in time. Even after 26 years, “June 4th“ is still a taboo in China. In this series of negatives, we search frame by frame for the positive images and the meaning of photography.
Thank you once again for being with us this issue, as you have in our past issues. We hope you will continue to join us as we journey on to ponder photography’s essence, and its historical and cultural relationship and impact. This is a new train of thought in photography literature. Although independent publishing is a difficult path, we hope that, with your support, we will be able to continue this for a long time. From the bottom of our hearts, thank you for supporting this magazine.
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Voices of Photography 攝影之聲
Issue 15 : 影像的左邊
The Left Side of Images
www.vopmagazine.com
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展出期將由五月二十四日 至 六月二十二日。
Voxfire Gallery 聲花畫廊
香港上環結志街52號一樓 (入口在鴨巴甸街)
聲花畫廊,一個致力推動本地藝術創作的畫廊,為你帶來本地年輕藝術團體 Swallow Up 之『 英雄勿念』混合媒體藝術作品展覽,並將於上環聲花畫廊舉行。
由兩位本地年輕人, 羅浩光及吳俊霆成立,取名 Swallow Up,是因有見不少城市人(包括他們自己)都在不自覺的情況下被城市吞噬了:每天,在開闢自己的生活,每天,卻被習以為常的生活吞沒。因此,他們希望能透過「白奴」與「黑奴」兩個設計角色,並藉著設計與文字,嘗試透過不同平台載體,如新詩、漫畫、攝影、散文、實驗、訪問、展覽,甚或與不同設計師、機構及慈善團體的合作等,從而把一己的思想化為另類的行動,望此能反映社會的部份現況,予大眾反思空間,亦好讓「存在緊」的他們,都能得到一份存在感。
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