The Significance of the “New Photography Movement” and “Collective Production” in the Japan Realist Photographers Association: A Focus on the Photobook The Testimony of Nagasaki (1970)

LEE Beomkeun

doi:10.18917/eizogaku.111.0_72

The purpose of this paper is to illuminate the role and significance of “collective production” within the JRP (Japan Realist Photographers Association) and to outline the specific direction of the “new photography movement” that the group advocated. To achieve this, this paper primarily focuses on the analysis of the photobook The Testimony of Nagasaki (1970).Many of JRP’s collective productions were conducted at the branch level, with the themes often centered around issues within the local communities to which each branch belonged. As a result, JRP members, positioned as constituents sharing the same living space within the community, endeavored to engage with the concerns of the local residents. Such a mode of photography as “Involvement” explains one of the unique features of the JRP’s collective production. Moreover, the “collaborative” nature of production in the form of mutual interaction between the photographers and their subjects, as seen in The Testimony of Nagasaki, is another characteristic inherent to the JRP. It is within these practical aspects and approaches to collective production that JRP’s “new photography movement” aspired to open up possibilities for utilizing the camera as a means to advance society and promote liberation, aligning with their vision.

The Significance of the “New Photography Movement” and “Collective Production” in the Japan Realist Photographers Association: A Focus on the Photobook <i>The Testimony of Nagasaki</i> (1970)

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