In Visualizing China, the authors launch a broad inquiry aimed at a synergistic understanding of the story of visuality in modern China. The essays cluster around several nodal points including photographs, advertising, posters and movies, from the 1840s to the 1960s.

To what extent do urban dwellers relate to their lived and imagined environment through aesthetic perceptions, and aspirations? This book approaches experiences of urban aesthetics not as an established framework, defined by imposed norms or legislations, but as the result of a continuous reflexive and proactive gaze, a complex and deep engagement of the mind, body and sensibilities. It uses empirical studies ranging from China, India to Western Europe. Three axes are privileged. The first considers urban everyday aesthetic experiences in the long-term as a historical production, from medieval Italy to a future imagined by science fiction. The second examines the impact of aestheticizing everyday material realities in neighbourhoods, and the tensions and conflicts these engender around urban commons. Finally, the third axis considers these relationships as aesthetic inequalities, exacerbated in a new age of urban development. The book combines local and transnational scales with an interdisciplinary approach, bringing together historians, sociologists, cultural geographers, anthropologists, architects and contemporary art curators. They illustrate the importance of combining different social science methods and functional perspectives to study such complex social and cultural realities as cities. This book will be of interest to students, scholars and practitioners of humanities and social sciences, cultural and urban studies, architecture and political geography.

Introduction / Stephanie H. Tung and Karina H. Corrigan -- China's nineteenth century : a snapshot / Mark Elliott -- The coolie, the corpse, and the crowd : Felice Beato and the ethics of war photography / Stephanie H. Tung -- The making and marketing of photography in nineteenth-century China / Stephanie H. Tung, Bing Wang, and Karina H. Corrigan -- Collecting China : PEM'S early patrons of Chinese photography / Karina H. Corrigan -- How do we know a faraway place? : China in early photography / Roberta Wue -- Photography and its worlds / Yi Gu.

Emphasizing the medium’s reception among several Chinese constituencies, this book explores photography’s impact within new discourses on science, as well as its effects in social life, visual modernity and the media during China’s transition from imperial to republican government. General knowledge and academic teaching of early modern Chinese visual culture stops short of fitting photography into the larger context of visual practices and theories. This study redraws the boundaries by making photography the central concern within changing priorities of visual representation and its functions during a period of major cultural and political change. No other study draws on such intimate familiarity with the early glamour of photography as science, commerce and communication in the various local conditions of China’s cities and towns. Joining a body of critical writing that examines photography’s histories outside the familiar confines of the West, this book looks beyond the tourist and imperialist gazes of photographer-adventurers from the Western powers and Japan. It defines instead the Chinese priorities of photographic vision that are abundantly evident in surviving photographs as well as in records as various as technical manuals and personal inscriptions. Local practices and local knowledge are the keys to explain the highly successful indigenization of a medium as globalizing as photography with reference to Chinese society’s own terms and practices. This book will be of particular interest to scholars in art and visual culture, the history of photography and Asian art.

"Located at the crossroads of the northern and southern routes of the ancient Silk Road on the edge of the Taklamakan desert in western China, Dunhuang is one of the richest Buddhist sites in China with nearly 500 cave temples constructed between the fourth and the fourteenth century. The sculptures, murals, portable paintings, and manuscripts found in the caves represent every aspect of Buddhism, both doctrinally and artistically. From its earliest construction to the present, Dunhuang has been visualized in many ways by the architects, builders, and artists who made the caves to twentieth-century explorers and photographers, conservators, and contemporary artists. This book explores ways in which Dunhuang has been visualized from its creation to contemporary times. Essays by leading scholars from the U.S., Europe, and China cover a wide range of topics, from the architecture of cave temples to painting and sculptural programs, Buddhist ritual practices, expeditionary photography, conservation, and the contributions of Dunhuang to art history"--

Covering the years of Japanese invasion during World War II from 1937 to 1945, this essay collection recounts Chinese experiences of living and working under conditions of war. Each of the regimes that ruled a divided China—occupation governments, Chinese Nationalists, and Chinese Communists—demanded and glorified the full commitment of the people and their resources in the prosecution of war. Through stories of both everyday people and mid-level technocrats charged with carrying out the war, this book brings to light the enormous gap between the leadership’s demands and the reality of everyday life. Eight long years of war exposed the unrealistic nature of elite demands for unreserved commitment. As the political leaders faced numerous obstacles in material mobilization and retreated to rhetoric of spiritual resistance, the Chinese populace resorted to localized strategies ranging from stoic adaptation to cynical profiteering, articulated variously with touches of humor and tragedy. These localized strategies are examined through stories of people at varying classes and levels of involvement in living, working, and trying to work through the war under the different regimes. In less than a decade, millions of Chinese were subjects of disciplinary regimes that dictated the celebration of holidays, the films available for viewing, the stories told in tea houses, and the restrictions governing the daily operations and participants of businesses—thus impacting the people of China for years to come. This volume looks at the narratives of those affected by the war and regimes to understand perspectives of both sides of the war and its total outcomes. Living and Working in Wartime China depicts the brutal micromanaging of ordinary lives, devoid of compelling national purposes, that both undercut the regimes’ relationships with their people and helped establish the managerial infrastructure of authoritarian regimes in subsequent postwar years.

Iconographies of Occupation is the first book to address how the “collaborationist” Reorganized National Government (RNG) in Japanese-occupied China sought to visualize its leader, Wang Jingwei (1883–1944); the Chinese people; and China itself. It explores the ways in which this administration sought to present itself to the people over which it ruled at different points between 1939, when the RNG was first being formulated, and August 1945, when it folded itself out of existence. What sorts of visual tropes were used in regime iconography and how were these used? What can the intertextual movement of visual tropes and motifs tell us about RNG artists and intellectuals and their understanding of the occupation and the war? Drawing on rarely before used archival records relating to propaganda and a range of visual media produced in occupied China by the RNG, the book examines the means used by this “client regime” to carve out a separate visual space for itself by reviving prewar Chinese methods of iconography and by adopting techniques, symbols, and visual tropes from the occupying Japanese and their allies. Ultimately, however, the “occupied gaze” that was developed by Wang’s administration was undermined by its ultimate reliance on Japanese acquiescence for survival. In the continually shifting and fragmented iconographies that the RNG developed over the course of its short existence, we find an administration that was never completely in control of its own fate—or its message. Iconographies of Occupation presents a thoroughly original visual history approach to the study of a much-maligned regime and opens up new ways of understanding its place in wartime China. It also brings China under the RNG into dialogue with broader theoretical debates about the significance of “the visual” in the cultural politics of foreign occupation.