#新刊出版 New release!!!​
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Voices of Photography 攝影之聲​
Issue 30：美援視覺性──農復會影像專題​
U.S. Aid Visuality: The JCRR Issue​
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本期我們重返影響台灣戰後發展至關重要的美援年代，尋索過往在台灣影像歷史視野中遺落、但卻十分關鍵的美援時期台灣視覺歷程──「農復會」的影像檔案。​
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成立於1948年、以推行「三七五減租」和「耕者有其田」等土地改革與農業政策聞名的農復會（中國農村復興聯合委員會，JCRR），被認為是奠定二十世紀「台灣經驗」基礎的重要推手。然而很少人留意，這一農經專業的美援機構，在1950至60年代拍攝了大量的照片、幻燈、電影，並生產各種圖像、圖表、圖冊與海報，在冷戰年代與美援宣傳機制緊密連結，深深參與了戰後「台灣（視覺）經驗」的構成，影響著我們的視覺文化發展。​
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冷戰與美援如何形塑台灣的影像與視覺感知？本期專題透過採集考察眾多第一手的農復會早期攝影檔案、底片、圖像、影片與文獻資料，揭載鮮為人知的美援年代視覺工作，追尋這一段逐漸隱沒的戰後台灣攝影與美援視覺性的重要經歷。​
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其中，李威儀考掘農復會的歷史線索與視覺文本，探查美援的攝影檔案製程、「農復會攝影組」的成員蹤跡，以及文化冷戰期間從圖像、攝影到電影中的美援視覺路徑；蔡明諺分析1951年由農復會、美國經合分署與美國新聞處共同創辦的《豐年》半月刊，從語言、歌謠與漫畫等多元的視覺表現中，重新閱讀這份戰後最具代表性的台灣農村刊物潛在的意識形態構成與政治角力；楊子樵回看多部早期農教與政策宣傳影片，析論農復會在戰後台灣發展中的言說機制與感官部署，並從陳耀圻參與農復會出資拍攝的紀錄片計畫所採取的影音策略，一探冷戰時期「前衛」紀錄影像的可能形式；黃同弘訪查農復會在1950年代為進行土地與森林調查所展開的航空攝影，解析早期台灣航攝史的源起與美援關聯，揭開多張難得一見的戰後台灣地景航照檔案。​
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此外，我們也尋訪生於日治時期、曾任農復會與《豐年》攝影師的楊基炘（1923-2005）的攝影檔案，首度開啟他封存逾半世紀、收藏農復會攝影底片與文件的軍用彈藥箱和相紙盒，呈現楊基炘於農復會工作期間的重要文獻，並收錄他拍攝於美援年代、從未公開的攝影遺作與文字，重新探看他稱為「時代膠囊」的視覺檔案，展現楊基炘攝影生涯更為多樣的面向，同時反思「美援攝影」複雜的歷史情愁。​
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本期專欄中，李立鈞延續科學攝影的探討，從十九世紀末天文攝影的觀測技術，思考可見與不可見在認識論上的交互辨證；謝佩君關注影像的遠端傳輸技術史，檢視當代數位視覺政權中的權力、知識與美學機制。「攝影書製作現場」系列則由以珂羅版印刷著稱的日本「便利堂」印刷職人帶領，分享古典印刷傳承的工藝秘技。​
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在本期呈現的大量影像檔案中，讀者將會發現關於美援攝影的經歷與台灣歷史中的各種視覺經驗，還有許多故事值得我們深入訪查。感謝讀者這十年來與《攝影之聲》同行，希望下個十年裡，我們繼續一起探索影像的世界。​
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● 本期揭載未曾曝光的美援攝影工作底片、檔案與文件！​
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購書 Order | https://vopbookshop.cashier.ecpay.com.tw/​
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In this issue of VOP, we revisit the era of U.S. aid, a period that was of utmost importance to Taiwan’s post-war social and economic development, and explore Taiwan’s much forgotten but crucial visual journey during this era ── the visual archives of the JCRR.​
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Established in 1948, the Chinese-American Joint Commission on Rural Reconstruction, or the JCRR, is widely known for the implementation of various land reform and agricultural policies, such as the “375 rent reduction” and “Land-to-the-tiller” programs. Hence, the Commission is considered an important cornerstone to laying the foundations of the “Taiwan Experience” in the 20th century. That said, very few are aware that this U.S. aid organization specializing in agricultural economics was also closely associated with the American propaganda mechanism during the Cold War, and had in its possession countless photos, slides and movies, and produced various images, charts, pamphlets and posters. All these contributed to the formation of the post-war “Taiwan (Visual) Experience”, deeply influencing the development of our visual culture.​
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How exactly did the Cold War and U.S. aid shape Taiwan’s image and visual perception? This issue’s special feature uncovers the little-known visual activities from the U.S. aid era by investigating the collection of JCRR’s first-hand photo files, negatives, images, films and documents, and traces this important journey of post-war Taiwan photography and U.S. aid visuality that has gradually faded from people’s minds.​
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Among them, Lee Wei-I examines the historical clues and visual texts of the JCRR, and explores the production of the U.S. aid photographic archives, following the traces of the members of the “JCRR Photography Unit” and the trails of U.S. aid visuals during the Cold War from images and photography to films. Tsai Ming-Yen analyzes the diverse visual manifestations, such as languages, ballads and comics, contained in the semimonthly publication Harvest, which was co-founded by the JCRR, the U.S. Economic Cooperation Administration, and the U.S. Information Service in 1951, presenting a new take on the ideological and political struggles that were hidden beneath the pages of this agricultural publication that could also be said to be the most representative publication of the post-war era. Yang Zi-Qiao looks back at the early agricultural education and propaganda films, and analyzes the discourse and sensory deployment utilized by the JCRR in the development of a post-war Taiwan and the possibilities of the “avant garde” documentary films from the Cold War period through the audio-visual strategies gleaned from director Chen Yao-Chi’s documentary project that was funded by the JCRR. At the same time, Houng Tung-Hung checks out the aerial photography taken by the JCRR in the 1950s for land and forest surveys, and uncovers the origins of Taiwan’s aerial photography with U.S. aid, giving readers a rare glimpse at post-War Taiwan’s aerial landscape photographic archives.​
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In addition, we will explore the photographic archives of Yang Chih-Hsin (1923-2005), a former photographer who was born during the Japanese colonial period and worked for the JCRR and Harvest, unearthing negatives and documents kept away in the ammunition and photo-paper box that had stayed sealed for more than half a century. This feature presents important files of Yang during his time with JCRR, and photographs taken and written texts produced during the U.S. aid era but were never made public. We go through the visual archives enclosed in what he called a “time capsule”, shedding light on the diversity of his photography career, while reflecting on the complex historial sentiments towards “U.S. aid photography” at the same time.​
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Lee Li-Chun continues the discussion on scientific photography in his column, exploring the interactive dialectics between the seen and the unseen through the observation technology of astrophotography in the late nineteenth century. Hsieh Pei-Chun focuses on the history of the technology behind remote transmission of visuals and examines the power, knowledge and aesthetics that underlies contemporary digital visual regime. Finally, this issue’s “Photobook Making Case Study” is led by the printing experts at Japan’s Benrido, a workshop that is renowned for its mastery of the collotype printing technique.​
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Through the large collection of photographic archives presented in this issue, readers will see that there remain many stories on the photography process in the U.S. aid era and various types of visual experiences in Taiwan’s history that are waiting to be unearthed. We thank our readers for staying with VOP for the past decade and we look forward to another ten years of exploring the world of images with you.​
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Voices of Photography 攝影之聲​
vopmagazine.com​
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#美援 #農復會 #冷戰 #台灣 #攝影​
#USAID #JCRR #ColdWar ​
#Taiwan #photography
#攝影之聲 #影言社

Squid最有krautrock感覺就是這首
而其動畫mv亦夠freaky迷幻

#Opinion by Hang Zhi 杭之｜"The pamphlets contain many brilliant observations. For example, Yin pointed out the problem of “mistaking the Communist Party as an ordinary political party” and the mistake of thinking “the Communist Party can be bound by treaties”. According to Yin, for the CCP, “a treaty is effective for as long as [the party] is not yet powerful, and will become invalid when it is powerful”."

Read more: https://bit.ly/35rVsfk

"這本小冊子的精采觀察處處。他告誡「把共產黨誤認為普通政黨」和「共產黨可以用條款來約束」的錯誤，他指出，「條約的有效時間，恒等於其勢力尚未成長之時間。『過時作廢』。」"
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10 THINGS YOU DIDN'T KNOW ABOUT THE HIROSHIMA ATOMIC BOMBING (& NAGASAKI)

*CORRECTION: In the video, the location of Nagasaki is off. It should be more on the left side of Kyushu island.

1) Godzilla

Godzilla, the giant Japanese dinosaur-looking monster, a worldwide pop culture icon; who’s been in numerous movies.

Why am I mentioning this? Well, Godzilla owes its existence to the atomic bombs. In the aftermath, with the devastation still fresh in the Japanese consciousness, Godzilla was created as a metaphor for nuclear weapons and their destructive capabilities.

2) The Korean Casualties

An enormous number of Koreans also perished in the blast. In fact, around 25% of casualties were Koreans. Korea was under Japanese rule at the time so there were many drafted or conscripted Koreans in Hiroshima & Nagasaki. It’s unfortunate that the Korean victims of this tragedy have often been neglected

3) Close Call Kyoto

Today’s Kyoto landscape would have been greatly altered, and not for the better, if the Americans had gone about their original plan. The targets were in fact supposed to be Hiroshima & Kyoto. However, the US Secretary of War at the time, Henry L Stimson, insisted on sparing the city

4) The Pamphlet Warnings

Just prior to dropping the Atomic bombs, the US Airforce released pamphlets or leaflets from their planes warning Japanese citizens of the impending destruction. They were largely ineffective.

5) The Little Boy & The Fat Man

These were the American codenames of the two atomic bombs.

6) The American Casualties

12 American airmen were captured, then taken to the Chugoku Military Police Headquarters in Hiroshima, where the American weapon of mass destruction indiscriminately took them out.

7) Go

An important Go tournament was held in the suburbs of Hiroshima, about 5 km from ground zero; a pivotal match up was ongoing between champion Hashimoto and the challenger Iwamoto. When the atomic bomb went off, people were injured, buildings were damaged, and the game came to an immediate halt. Fortunately no one died as tournament officials had earlier moved the game away from the blast radius after coming across the American pamphlets.

The players took this opportunity to have a quick lunch break. Afterwards on the same day, they finished the game. White won.

8) Operation Meetinghouse

As devastating as the atomic bombs were, it didn’t even rank as the most destructive bombing event of WW2. That title goes to the deathly firebombing of Tokyo by the US Air Force, also known as Operation Meetinghouse. This was estimated to be the single most destructive bombing attack not just in Japan, but in history.

9) The Flame Of Peace

The Hiroshima Peace Memorial Park was built in dedication to the legacy of Hiroshima as the first city in the world to suffer a nuclear attack. In the park, sits The Flame of Peace which has burned continuously since 1964, and will remain lit until all nuclear weapons are removed from the world and the planet is free from nuclear threat.

10) The Improbable Survivor

Tsutomu Yamaguchi worked for the Mitsubishi company, and on August 6th, 1945, he was away from home on a business trip in Hiroshima.

He witnessed the Little Boy dropping from the sky and the explosion ruptured his eardrums, blinded him, and left him with serious burns. But he was alive.

The very next day, he dragged his body to a station, made his way out of Hiroshima and back to his hometown. At home, he finally received treatment for his wounds.

Two days later, despite being seriously injured and heavily bandaged, he informed Mitsubishi that he was back from his Hiroshima business trip and ready to report to work. So, he went to work, as if nothing major had happened.

Yamaguchi was lucky to have survived the Hiroshima Atomic Bomb. However, he was unlucky that he went back home..

..to Nagasaki..

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