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Affiliation(s)

Dartmouth College, Hanover, United States

ABSTRACT

In order to assess Roland Barthes’ argument that interpretation of photography depends on cultural codes embedded therein, a collection of photos from the Japanese Government-General of Chōsen (GGC), which controlled Korea 1910-1945, were examined. These colonial images and associated text, commonly in English, were aimed primarily at the West, with which the Japanese sought alignment. Of the three common categories of GGC photos, “scientific” or “anthropological” images corresponded with portrayals by Western colonial powers of the supposed inferior nature of subjugated peoples and cultures. Individuals in such pictures tend to lose their identities and are reduced to a stereotype, less human than the observer. “Before and after” photos depicted alleged GGC progress in such areas as education and infrastructure. Pictures of “happy colonial subjects” conveyed an impression of Koreans enjoying the benevolence of the new administration. While this photojournalism favorably impressed some Westerners, others employed images of the 1919 Korean uprising, and its suppression, to discredit the Japanese. The overall assessment demonstrates the polemical manipulation of photography.

KEYWORDS

Anthropology, Coding, Colonialism, Japan, Korea, Photography, Photojournalism, Polemics

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