Philip Charrier
Dados Biográficos
| ID | 4222637 |
|---|---|
| NOME | Philip Charrier |
| PRENOMES | Philip |
| SOBRENOME | Charrier |
| ASSINATURA | CHARRIER P |
| AFILIAÇÕES | University of Regina |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 19 |
| TOTAL DE CITAÇÕES | 11 |
| TOTAL COMO AUTOR | 19 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2000 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2026 |
| ÍNDICE H | 2 |
Making dead elephants speak: Photographic ‘truth’ and ethical conflict in Peter Beard’s The End of the Game
Peter Beard’s The End of the Game (1977) sparked controversy among conservation biologists over its portrayal of the 1971–72 Tsavo National Park elephant die-off. Critics accused Beard of misrepresentation, citing selective imagery and factual omissions shaped by his advocacy for culling, while supporters defended its evocative portrayal of Africa’s ecological crisis. This article explores the ethical and epistemic tensions at the heart of this d…
The Violence of Looking: An Ethical Critique of Wartime ‘Comfort Women’ Photographs
This article argues for the removal of wartime ‘comfort women’ photographs and film footage from public circulation in academic, journalistic, museum, and digital contexts due to their potential to cause harm. It focuses specifically on imagery taken without consent during the Second World War, including depictions of both the living and the deceased, which risk exposing or retraumatizing victims and their descendants. While such photographs hold…
The Trans Body in Christer Strömholm’s Vännerna Från Place Blanche (1983)
This article explores Christer Strömholm’s depictions of trans women in his 1983 photobook Vännerna Från Place Blanche (Friends of Place Blanche). Specifically, it queries the inclusion of portraits that unmask his subjects’ projected trans identities in a work about friendship and solidarity with gender non-conformity. The first part of the article considers the photographer’s use of French Nouvelle Vague film stills as templates for his sixties…
Nakahira, Takuma
Takanashi, Yutaka
Taki, Kōji
The Photographic Gaze Meets the Medical Gaze: Two Cross-Dressing Men in Christer Strömholm’s Place Blanche
In 1963, Christer Strömholm photographed the cross-dressing men Zizou and Carla on successive days in a Paris bar. The images are unique in Strömholm’s Place Blanche archive in that in one photograph Zizou is the “man” and Carla the “woman,” and in the other they switch. Who were Zizou and Carla? Strömholm’s captions for the images do not say. But two years after he photographed them the men were interviewed by a medical school Ph.D. student for …
Nakahira Takuma's ‘Why an Illustrated Botanical Dictionary?’ (1973) and the quest for ‘true’ photographic realism in post-war Japan
Although largely ignored in its own time, Nakahira Takuma's 1973 essay ‘Why an Illustrated Botanical Dictionary?’ has in the last decade become established as an important contribution to Japanese image theory. In particular, it has been associated with the transition to postmodernism in Japanese photography and art. A detailed analysis of the essay's philosophical underpinnings, moralizing language, and engagement with the post-war realist debat…
Taki Kōji, Provoke, and the Structuralist Turn in Japanese Image Theory, 1967–70
This article explores the intellectual underpinnings of the late-1960s Japanese photography collective Provoke. It argues that Provoke was more radical and theoretically inflected than is conventionally understood, its project being the forging of a ‘scientific’ photography capable of unveiling the ‘untruth’ of established relations of power and knowledge production in Japan. I present Provoke’s central figure to be Taki Kōji, who in 1967–68 publ…
Fuchikami Hakuyō and the ‘Manchukuo Pastoral’ in 1930s Japanese Art Photography
The art photography of Fuchikami Hakuyō and his circle in Japanese Manchuria is commonly and benignly treated as hybridized modernism, a product of the bending of conventional 1930s Japanese styles (pictorialist, constructivist, realist) through contact with the unfamiliar and the exotic. As such it is deemed reflexive in relation to the stimuli of a new land and peoples, but disconnected from the political, economic, and social processes of impe…
On Diane Arbus: Establishing a Revisionist Framework of Analysis
The recent publication of a large selection of Diane Arbus's private papers, contact sheets and prints presents an opportunity to re-examine existing interpretations of her photography. More than merely overcoming the Sontag-based critical tradition of evaluating Arbus on moral and psychological terms, this article is concerned with widening the scope of inquiry. Areas explored include Arbus's conceptual approach to the magazine photo-essay, her …
The Making of a Hunter: Moriyama Daidō 1966–1972
The images from Moriyama's earliest photobooks – Nihon gekijō shashinchō (Nippon Theatre), Shashin yo sayōnara (Farewell Photography), and Kariudo (A Hunter) – are among his most highly respected works, yet comparably little is known about the processes and contexts of their production. This essay examines the photographer's early collaborative projects with the writer and dramatist Terayama Shūji, as well as such important magazine serial projec…
Becoming a Raven’: Self-Representation, Narration, and Metaphor in Fukase Masahisa's ‘Karasu’ Photographs
One of the most poetic and mysterious photographic projects of the post-1945 period, Fukase Masahisa's ‘Karasu’ [Ravens] is here examined in relation to the photographer's entire body of work, his writings, interviews with his family and friends, and consideration of the influence of loss, melancholia, and psychological instability in his art. Although Fukase remains associated with the ‘personal photography’ movement of the 1960s and 1970s, it i…
Nojima Yasuzō's primitivist eye: ‘Nude’ and ‘Natural’ in early Japanese art photography
This reading of Nojima Yasuzō's nudes explores the relationship between aesthetic form and cultural context in works of pictorialist photography that have attained exalted status in Japan. It argues that Nojima's unconventionally ‘straight’ and unidealized images of women of more ‘ordinary’ appearance exoticize the supposed rawness and vitality of the lower class Japanese woman in a manner consistent with broader primitivist fantasies in circulat…
Asean’s inheritance: The regionalization of Southeast Asia, 1941–61
This article explores the establishment of Southeast Asia as a regional space in the international system before the advent of ASEAN. It challenges the traditional view that the region emerged from Japanese and Allied strategies and operations during the Second World War, focusing instead upon the important role played by academics in the creation of ‘Southeast Asian studies’ in the United States and Britain in the 1940s and 1950s. On a broader l…
Asean's inheritance: The regionalization of Southeast Asia, 1941-61
Asean's inheritance: The regionalization of Southeast Asia, 194161
The Evolution of a Stereotype: The Royal Navy and the Japanese ‘Martial Type’, 1900–1945
The Japanese were a race who considered themselves to possess a mission in the world, and were a military race from beginning to end. In a comparatively short space of time Japan had brought three wars to a successful conclusion.Admiral Earl Beatty, First Sea Lord (1919–1927), 3 July 1925it is on record that one young samurai... was so convinced at first that bravery by itself was sufficient to overcome the power of the western ‘barbarians’, that…
Paradigms of development: British perspectives on social and economic change in Japan, 1900–41
The rapid industrialization and modernization of Japan in the first decades of the twentieth century preceded both the creation of 'development studies' as an academic sub-discipline and popular awareness in the West of development issues. Japanese achievements were therefore not analysed at the time according to specific expectations or models of development, as would be the case today, but rather were interpreted in the context of more general …
Asean’s inheritance: The regionalization of Southeast Asia, 1941–61
This article explores the establishment of Southeast Asia as a regional space in the international system before the advent of ASEAN. It challenges the traditional view that the region emerged from Japanese and Allied strategies and operations during the Second World War, focusing instead upon the important role played by academics in the creation of ‘Southeast Asian studies’ in the United States and Britain in the 1940s and 1950s. On a broader l…
Fuchikami Hakuyō and the ‘Manchukuo Pastoral’ in 1930s Japanese Art Photography
The art photography of Fuchikami Hakuyō and his circle in Japanese Manchuria is commonly and benignly treated as hybridized modernism, a product of the bending of conventional 1930s Japanese styles (pictorialist, constructivist, realist) through contact with the unfamiliar and the exotic. As such it is deemed reflexive in relation to the stimuli of a new land and peoples, but disconnected from the political, economic, and social processes of impe…
The Photographic Gaze Meets the Medical Gaze: Two Cross-Dressing Men in Christer Strömholm’s Place Blanche
In 1963, Christer Strömholm photographed the cross-dressing men Zizou and Carla on successive days in a Paris bar. The images are unique in Strömholm’s Place Blanche archive in that in one photograph Zizou is the “man” and Carla the “woman,” and in the other they switch. Who were Zizou and Carla? Strömholm’s captions for the images do not say. But two years after he photographed them the men were interviewed by a medical school Ph.D. student for …
Nakahira Takuma's ‘Why an Illustrated Botanical Dictionary?’ (1973) and the quest for ‘true’ photographic realism in post-war Japan
Although largely ignored in its own time, Nakahira Takuma's 1973 essay ‘Why an Illustrated Botanical Dictionary?’ has in the last decade become established as an important contribution to Japanese image theory. In particular, it has been associated with the transition to postmodernism in Japanese photography and art. A detailed analysis of the essay's philosophical underpinnings, moralizing language, and engagement with the post-war realist debat…
Nojima Yasuzō's primitivist eye: ‘Nude’ and ‘Natural’ in early Japanese art photography
This reading of Nojima Yasuzō's nudes explores the relationship between aesthetic form and cultural context in works of pictorialist photography that have attained exalted status in Japan. It argues that Nojima's unconventionally ‘straight’ and unidealized images of women of more ‘ordinary’ appearance exoticize the supposed rawness and vitality of the lower class Japanese woman in a manner consistent with broader primitivist fantasies in circulat…
Asean's inheritance: The regionalization of Southeast Asia, 1941-61
Paradigms of development: British perspectives on social and economic change in Japan, 1900–41
The rapid industrialization and modernization of Japan in the first decades of the twentieth century preceded both the creation of 'development studies' as an academic sub-discipline and popular awareness in the West of development issues. Japanese achievements were therefore not analysed at the time according to specific expectations or models of development, as would be the case today, but rather were interpreted in the context of more general …
Asean’s inheritance: The regionalization of Southeast Asia, 1941–61
This article explores the establishment of Southeast Asia as a regional space in the international system before the advent of ASEAN. It challenges the traditional view that the region emerged from Japanese and Allied strategies and operations during the Second World War, focusing instead upon the important role played by academics in the creation of ‘Southeast Asian studies’ in the United States and Britain in the 1940s and 1950s. On a broader l…
Asean's inheritance: The regionalization of Southeast Asia, 1941-61
Asean's inheritance: The regionalization of Southeast Asia, 194161
The Evolution of a Stereotype: The Royal Navy and the Japanese ‘Martial Type’, 1900–1945
The Japanese were a race who considered themselves to possess a mission in the world, and were a military race from beginning to end. In a comparatively short space of time Japan had brought three wars to a successful conclusion.Admiral Earl Beatty, First Sea Lord (1919–1927), 3 July 1925it is on record that one young samurai... was so convinced at first that bravery by itself was sufficient to overcome the power of the western ‘barbarians’, that…
Nojima Yasuzō's primitivist eye: ‘Nude’ and ‘Natural’ in early Japanese art photography
This reading of Nojima Yasuzō's nudes explores the relationship between aesthetic form and cultural context in works of pictorialist photography that have attained exalted status in Japan. It argues that Nojima's unconventionally ‘straight’ and unidealized images of women of more ‘ordinary’ appearance exoticize the supposed rawness and vitality of the lower class Japanese woman in a manner consistent with broader primitivist fantasies in circulat…
Becoming a Raven’: Self-Representation, Narration, and Metaphor in Fukase Masahisa's ‘Karasu’ Photographs
One of the most poetic and mysterious photographic projects of the post-1945 period, Fukase Masahisa's ‘Karasu’ [Ravens] is here examined in relation to the photographer's entire body of work, his writings, interviews with his family and friends, and consideration of the influence of loss, melancholia, and psychological instability in his art. Although Fukase remains associated with the ‘personal photography’ movement of the 1960s and 1970s, it i…
The Making of a Hunter: Moriyama Daidō 1966–1972
The images from Moriyama's earliest photobooks – Nihon gekijō shashinchō (Nippon Theatre), Shashin yo sayōnara (Farewell Photography), and Kariudo (A Hunter) – are among his most highly respected works, yet comparably little is known about the processes and contexts of their production. This essay examines the photographer's early collaborative projects with the writer and dramatist Terayama Shūji, as well as such important magazine serial projec…
On Diane Arbus: Establishing a Revisionist Framework of Analysis
The recent publication of a large selection of Diane Arbus's private papers, contact sheets and prints presents an opportunity to re-examine existing interpretations of her photography. More than merely overcoming the Sontag-based critical tradition of evaluating Arbus on moral and psychological terms, this article is concerned with widening the scope of inquiry. Areas explored include Arbus's conceptual approach to the magazine photo-essay, her …
Fuchikami Hakuyō and the ‘Manchukuo Pastoral’ in 1930s Japanese Art Photography
The art photography of Fuchikami Hakuyō and his circle in Japanese Manchuria is commonly and benignly treated as hybridized modernism, a product of the bending of conventional 1930s Japanese styles (pictorialist, constructivist, realist) through contact with the unfamiliar and the exotic. As such it is deemed reflexive in relation to the stimuli of a new land and peoples, but disconnected from the political, economic, and social processes of impe…
Taki Kōji, Provoke, and the Structuralist Turn in Japanese Image Theory, 1967–70
This article explores the intellectual underpinnings of the late-1960s Japanese photography collective Provoke. It argues that Provoke was more radical and theoretically inflected than is conventionally understood, its project being the forging of a ‘scientific’ photography capable of unveiling the ‘untruth’ of established relations of power and knowledge production in Japan. I present Provoke’s central figure to be Taki Kōji, who in 1967–68 publ…
The Photographic Gaze Meets the Medical Gaze: Two Cross-Dressing Men in Christer Strömholm’s Place Blanche
In 1963, Christer Strömholm photographed the cross-dressing men Zizou and Carla on successive days in a Paris bar. The images are unique in Strömholm’s Place Blanche archive in that in one photograph Zizou is the “man” and Carla the “woman,” and in the other they switch. Who were Zizou and Carla? Strömholm’s captions for the images do not say. But two years after he photographed them the men were interviewed by a medical school Ph.D. student for …
Nakahira Takuma's ‘Why an Illustrated Botanical Dictionary?’ (1973) and the quest for ‘true’ photographic realism in post-war Japan
Although largely ignored in its own time, Nakahira Takuma's 1973 essay ‘Why an Illustrated Botanical Dictionary?’ has in the last decade become established as an important contribution to Japanese image theory. In particular, it has been associated with the transition to postmodernism in Japanese photography and art. A detailed analysis of the essay's philosophical underpinnings, moralizing language, and engagement with the post-war realist debat…
Nakahira, Takuma
Takanashi, Yutaka
Taki, Kōji
The Trans Body in Christer Strömholm’s Vännerna Från Place Blanche (1983)
This article explores Christer Strömholm’s depictions of trans women in his 1983 photobook Vännerna Från Place Blanche (Friends of Place Blanche). Specifically, it queries the inclusion of portraits that unmask his subjects’ projected trans identities in a work about friendship and solidarity with gender non-conformity. The first part of the article considers the photographer’s use of French Nouvelle Vague film stills as templates for his sixties…
The Violence of Looking: An Ethical Critique of Wartime ‘Comfort Women’ Photographs
This article argues for the removal of wartime ‘comfort women’ photographs and film footage from public circulation in academic, journalistic, museum, and digital contexts due to their potential to cause harm. It focuses specifically on imagery taken without consent during the Second World War, including depictions of both the living and the deceased, which risk exposing or retraumatizing victims and their descendants. While such photographs hold…
Making dead elephants speak: Photographic ‘truth’ and ethical conflict in Peter Beard’s The End of the Game
Peter Beard’s The End of the Game (1977) sparked controversy among conservation biologists over its portrayal of the 1971–72 Tsavo National Park elephant die-off. Critics accused Beard of misrepresentation, citing selective imagery and factual omissions shaped by his advocacy for culling, while supporters defended its evocative portrayal of Africa’s ecological crisis. This article explores the ethical and epistemic tensions at the heart of this d…
History (10 obras) · Sociology (9 obras) · Art (8 obras) · History (7 obras) · Visual arts (7 obras) · Aesthetics (6 obras) · Photography (6 obras) · Photography and Visual Culture (6 obras) · Archaeology (5 obras) · Art history (5 obras)