The smartphone is perhaps one of the few items that can define our time in terms of its ubiquity and mobility. The photographic feature of various types of smartphones has also drawn the attention of consumers and manufacturers in recent years, with the consecutive upgrades of built-in cameras, photo-editing and sharing apps. From the taking, retouching, to publishing a photograph, smartphone photography, coupled with social media, has become important in understanding the relationships between digital image and sociality, aesthetics and identity. This article examines several new developments such as the rise of ‘professional amateurs’ and the selfie within the Chinese context. It then attempts to develop theories of smartphone photography that incorporate these developments. Using ethnographic analysis and interviews, this article aims to theorize smartphone photography as a series of practices that reveal local and individual specifications that traverse technicity, sociality and aesthetics. It shows how this has had a significant impact on Chinese people’s economic and social life.
This article aims to discuss a discursive turn of Chinese visual arts, using landscape representations from old and contemporary photographs of China, as well as painting and film materials. The discussion starts from showing the differences of defining the term landscape between Western and Chinese painters, arguing that they point to two types of realism underpinned by two kinds of cultures of seeing. It then moves on to the anthropological analysis of the landscape and how this analytical framework is useful in terms of understanding the 'emotive reality' in traditional Chinese landscape paintings. Lastly, the essay attempts to point out that this legacy has been inherited by contemporary Chinese visual arts in form of a 'roots-searching' sentimentality, either in explicit or implicit ways, participating in the construction of the new reality and identity recognised by and shapes contemporary Chinese artists.
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