Gennifer Weisenfeld
Biographic Data
| ID | 3786889 |
|---|---|
| NAME | Gennifer Weisenfeld |
| GIVEN NAMES | Gennifer |
| FAMILY NAME | Weisenfeld |
| SIGNATURE | WEISENFELD G |
| AFFILIATIONS | Duke University Hospital |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
On Gas Mask Nation
An extraordinary photograph by well-known modernist photographer Horino Masao depicting schoolgirls parading in gas masks through the Ginza in 1936 launched me into this project. That is why it sits on the cover of my book (Fig 1). The questions this image elicited, particularly the ambivalent symbolism of the gas mask as a technological instrument of protection and a grotesque fetish of monstrous transformation, sent me on a journey of curiosity…
Imaging Disaster
Disaster is an ever-present, and ever-timely, issue both in Japan and around the world. The triple disaster of 3.11 and its extensive media coverage are a vivid reminder not only of disaster's critical and catalytic role in history, but the dynamic agency of images in mediating our experiences of natural or man-made events to produce that history. The 1923 Great Kantō Earthquake, which devastated the major cities of Tokyo and Yokohama, as well as…
Gas Mask Parade
Gas Mask Parade:Japan’s Anxious Modernism Gennifer Weisenfeld (bio) An army of schoolgirls marching through Tokyo, their faces an anonymous sea of gas masks. Perhaps one of the most iconic images of the anxious modernism of 1930s Japan, Gas Mask Parade, Tokyo (Gasu Masuku Kōshin, Tōkyō) by photographer Horino Masao (1907–1998) (Figure 1), reveals the vivid yet prosaic inculcation of fear in Japanese daily life through the increasingly pervasive v…
Tōyō Sesshū
Guest Editor's Introduction
Touring Japan-as-Museum
Research Article| August 01 2000 Touring Japan-as-Museum: NIPPON and Other Japanese Imperialist Travelogues Gennifer Weisenfeld Gennifer Weisenfeld Search for other works by this author on: This Site Google positions (2000) 8 (3): 747. https://doi.org/10.1215/10679847-8-3-747 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Gennifer Weisenfeld; Touring Japan-as-Museum: NIPPON and Other Japanese Imp…
Designing after disaster
Mavo's Conscious Constructivism
It has often been noted that one of the defining factors of Japan's entry into the modern era was an emergent ideology of individualism (kojinshugi) inspired by Western philosophical and political thought.1 Widely ranging interpretations of individualism, however, were spawned in relation to changing social and political conditions as Japan went from being a newly established nation-state to a thriving imperialist power during the period from the…
Designing after disaster
Touring Japan-as-Museum
Research Article| August 01 2000 Touring Japan-as-Museum: NIPPON and Other Japanese Imperialist Travelogues Gennifer Weisenfeld Gennifer Weisenfeld Search for other works by this author on: This Site Google positions (2000) 8 (3): 747. https://doi.org/10.1215/10679847-8-3-747 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Gennifer Weisenfeld; Touring Japan-as-Museum: NIPPON and Other Japanese Imp…
Mavo's Conscious Constructivism
It has often been noted that one of the defining factors of Japan's entry into the modern era was an emergent ideology of individualism (kojinshugi) inspired by Western philosophical and political thought.1 Widely ranging interpretations of individualism, however, were spawned in relation to changing social and political conditions as Japan went from being a newly established nation-state to a thriving imperialist power during the period from the…
Designing after disaster
Guest Editor's Introduction
Touring Japan-as-Museum
Research Article| August 01 2000 Touring Japan-as-Museum: NIPPON and Other Japanese Imperialist Travelogues Gennifer Weisenfeld Gennifer Weisenfeld Search for other works by this author on: This Site Google positions (2000) 8 (3): 747. https://doi.org/10.1215/10679847-8-3-747 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Gennifer Weisenfeld; Touring Japan-as-Museum: NIPPON and Other Japanese Imp…
Tōyō Sesshū
Gas Mask Parade
Gas Mask Parade:Japan’s Anxious Modernism Gennifer Weisenfeld (bio) An army of schoolgirls marching through Tokyo, their faces an anonymous sea of gas masks. Perhaps one of the most iconic images of the anxious modernism of 1930s Japan, Gas Mask Parade, Tokyo (Gasu Masuku Kōshin, Tōkyō) by photographer Horino Masao (1907–1998) (Figure 1), reveals the vivid yet prosaic inculcation of fear in Japanese daily life through the increasingly pervasive v…
Imaging Disaster
Disaster is an ever-present, and ever-timely, issue both in Japan and around the world. The triple disaster of 3.11 and its extensive media coverage are a vivid reminder not only of disaster's critical and catalytic role in history, but the dynamic agency of images in mediating our experiences of natural or man-made events to produce that history. The 1923 Great Kantō Earthquake, which devastated the major cities of Tokyo and Yokohama, as well as…
On Gas Mask Nation
An extraordinary photograph by well-known modernist photographer Horino Masao depicting schoolgirls parading in gas masks through the Ginza in 1936 launched me into this project. That is why it sits on the cover of my book (Fig 1). The questions this image elicited, particularly the ambivalent symbolism of the gas mask as a technological instrument of protection and a grotesque fetish of monstrous transformation, sent me on a journey of curiosity…
History (5 works) · Japanese History and Culture (5 works) · Political science (4 works) · Computer Science (3 works) · Law (3 works) · Aesthetics (2 works) · Art (2 works) · Engineering (2 works) · History (2 works) · Politics (2 works)