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『簡體書』方大曾:消失与重现(英)

書城自編碼: 3487189
分類:簡體書→大陸圖書→傳記其他
作者: 冯雪松
國際書號(ISBN): 9787510468094
出版社: 新世界出版社
出版日期: 2019-06-01

頁數/字數: /
書度/開本: 16开

售價:HK$ 226.8

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編輯推薦:
方大曾与范长江双峰并峙,二水分流,一个长于文字,一个长于摄影,是中国新闻史上的双峰,可以并存于世,并存于史,并存于书。
方汉奇 中国新闻史学会创会会长、中国人民大学荣誉一级教授
內容簡介:
方大曾,20世纪30年代的一位天才摄影家,在创作活跃的两三年里留下了大量在摄影技艺上可与其同时代的摄影大师布列松、何奈布里、尤兰史密斯齐相媲美的作品。他是首位到达卢沟桥事变现场的摄影记者,他拍摄的大量具有玛格南图片社风格的影像是当时国内主流媒体,乃至西方媒体了解中国抗日战争的*手信息。1937年9月,时年25岁的方大曾赴当时战事紧的保定采访后失去音讯,并从此被湮没,不为人所知。尽管他留下的抗战影像时常被使用,但罕有人知道他的名字,《中国摄影史》对他的记载寥寥无几。
本书作者中央电视台纪录片导演冯雪松,通过对方大曾生命历程,特别是作为一名战地摄影记者生涯的寻找与发现,将他推向公众,向读者展示了一位不为暴力、权力、金钱驱使的,用生活做背景,用生命做胶片的摄影家的人生故事。
關於作者:
冯雪松,中央电视台高级编辑,纪录频道副总监,南开大学硕士,中国作家协会会员。中国新闻文化促进会理事,中国电视艺术家协会会员。方大曾研究中心名誉主任,中央民族大学研究生业界导师,河北大学兼职教授,范长江新闻学院兼职教授,温州医科大学客座教授,新华通讯社穆青研究中心特聘研究员,曾任中央电视台办公室综合处处长及驻澳门记者站首席记者。
1999年底开启寻找战地记者方大曾之旅,拍摄纪录片《寻找方大曾》,20年来,曾多次前往保定、石家庄、太原、大同、蠡县、呼和浩特等地寻访,查询大量史料,采访百余人,数易其稿,完成了首部反映七七事变现场报道第一人的专著《方大曾:消失与重现》,填补了中国新闻史和摄影史的空白。
代表作品:纪录片《寻找方大曾》《二十世纪中国女性史》等,专著《方大曾:消失与重现》《方大曾:遗落与重拾》《解读方大曾》《珍藏方大曾》等。倡建方大曾纪念室、方大曾研究中心,发起方大曾校园行公益计划,受到社会广泛关注,被媒体称为引发方大曾现象的人。
曾荣获中宣部五个一工程特等奖、全国少数民族文学创作骏马奖、中国新闻奖、全国人大好新闻奖、中国电视星光奖、中国电视金鹰奖、中国新闻史学会新闻传播学国家学会奖组委会特别奖等奖项。
目錄
CONTENTS
I. A Documentary Produced Accidentally 001
II. Fang Dazeng and His Time 027
III. Reports in the Period of Gray Cabin 061
IV. Black and White Photographs Injected with Life 093
V. Travelling to Suiyuan Alone 117
VI. A Fate-Changing War 147
VII. Battlefield Footprints on Paper 179
VIII. The Last Message 201
IX. Memories Connected to Youth 223
X. Searching in the Manner of Paying Respect 255
XI. Almost Touchable Air 277
XII. The Fate and Destination of Negatives 305
XIII. A Period Not Fully Drawn 329
Epilogue: From Searching to Following 355
Timetable of Fang Dazengs Life and Research on Fang Dazeng 361
內容試閱
Foreword I
Fang Dazeng: Disappearance and Reappearance, a biography written by Feng Xuesong, reveals the stories of Fang Dazeng, a distinguished journalist and photographer buried in oblivion for over 80 years. Making his name known to the public is a great contribution to the research on Chinas history of journalism and war photography.
Fang Dazeng took a large volume of news photographs about the Lugou Bridge Incident and the military activities in the Chinese Peoples War of Resistance against Japanese Aggression. These photographs present a truthful account of the great resistance war of all the Chinese people. They embody the national spirit of the soldiers and civilians in the war who fought against their foreign enemy. These photographs raised their morale and stimulated their fighting will. Many precious scenes were taken onsite and preserved in these photographs, so they possess the important value of historical literature. We are proud that there was such an outstanding news photographer in Chinese history who will live in our heart forever.
Fang Dazeng stands parallel to Fan Changjiang: They are like two soaring peaks, or two raging torrents, in the landscape of the Chinese history of journalism. One of them was an outstanding photographer and the other an outstanding writer. These two peaks in the history of Chinese journalism will stand parallel both in history and print.
Fang Hanqi
Scholar of the history of Chinese Journalism,
Founding president of the Chinese Association for History of
Journalism and Communication,
Professor at Renmin University of China
Foreword II
He Was the Robert Capa of China
If your pictures arent good enough, youre not close enough.
Robert Capa
Many people say they know this story. After the Lugou Bridge Incident in 1937, Fang Dazeng was dispatched by Ta Kung Pao, in Shanghai, to the frontline in northern China as a battlefront correspondent. In a period of over two months, he published a number of battlefront reports under the penname Xiao Fang. But, at 25 years old, he soon disappeared forever. According to present historical records, he was the first journalist who died on the front in the War of Resistance against Japanese Aggression. This book is not merely a reminiscence of the past. Next year, the 70th anniversary of victory in the Chinese Peoples War of Resistance against Japanese Aggression will be celebrated. Over 800 photographic negatives left by Fang Dazeng have been permanently collected by the National Museum of China as precious relics of the war, highlighting the value of this book.
Last year, I went to Shanghai to meet my old friend Mr. Zhang Zhongyu, who was still the manager of a publishing house. I mentioned the story about Fang Dazeng. He immediately indicated that he would make this a publication theme for his publishing house. He was a man who always talked shop. I was excited about his suggestion and moved by his professionalism. Immediately afterwards, I thought about Feng Xuesong at China Central Television, who was the director of In Search of War Correspondent Fang Dazeng, a documentary shot by the station more than 10 years earlier. In addition to his talent as a writer, he invested great passion and time in interviewing people about the story of Xiao Fang. So, he was the best candidate for this topic.
In the history of war photography in China in the 20th century, there were two very important people related to Shanghai. One was Sha Fei, who was not only an admirer of Lu Xun, a revolutionary Chinese literary master, but also the man who took the funeral portrait of Lu Xun. Later, Sha Fei joined the Eighth Route Army and became a war correspondent and news publisher. The other was Fang Dazeng. Fang Dazeng was a war correspondent active during the early period of the resistance war. After the Lugou Bridge Incident on July 7, 1937, he left his home in Beiping and went to the frontline of the war. He published news as a battlefront reporter for Ta Kung Pao upon the recommendation of Fan Changjiang. The two photographers, Sha Fei and Fang Dazeng, were both born in 1912 and the style and conception of their works were comparable to those of war correspondents in the west. But, their historical values are different. Although both were fervent youth who devoted themselves to the frontline of the resistance war, Sha Fei joined the Eighth Route Army in Shanxi Province. He witnessed the entire process of the revolutionary war of the Chinese people with his camera and left a large number of narrative works about the troops of the Eighth Route Army and the liberated areas. The value of this can never be understated. Fang Dazeng also went
to Shanxi in 1937. He was never heard from after he published Changes in the Northern Section of the Beiping-Hankou Railway. The photographic works of Fang Dazeng focused on descriptions of the frontal battlefield during the early period of the war. He was also an excellent war correspondent in China during the times of war and turmoil.
The legendary story of Fang Dazeng has moved countless people. When I participated in the compilation of the History of Photography in China around 1980, I learned of the name Xiao Fang through the article In Memory of Xiao Fang written by Fan Changjiang. I also learned that Mr. Wu Qun, a predecessor in the study of the history of photography and also my mentor and friend, once wrote an article about the study of Xiao Fang. Unfortunately, he did not have the chance to examine all the works and materials left by Xiao Fang due to limitations in conditions and opportunities at the time.
In 1989, I had a chance to form my own connection to FangDazeng. In early winter, Li Huiyuan, a friend of Fangs family, came to Beijing from Shanghai to visit Fang Chengmin. Entrusted by Fangs family, Li Huiyuan came to Mr. Chen Changqian, one of his comrades who he had worked with in underground revolutionary matters in Shanghai. Chen was then the leader of the China Photographers Association and also my superior. I met with Mr. Li
only once in my office. The next day, Chen Changqian and I visited Fang Chengmin, Fang Dazengs sister, three years younger than him. Two or three days later, Fang Chengmin came to me. In the reception office of my workplace, she took out a small wooden box that contained over 800 negatives that Fang Dazeng had taken. She said she would give them to me so I could do my research. She attached a note to the box, which read: Today, I present 837 negatives taken by Fang Dazeng. She insisted that I did not need to write a receipt for it. The small box and negatives stayed with me for about 10 years, until I returned them to their owners in 2000. From that day on, the old lady met me in the reception office each time she came to my workplace. She always declined my invitation to come to my office on the excuse that she might affect the work of my colleagues.
The negatives that Fang Dazeng left were contained in negative bags with serial numbers written by him. The numbers started with single digits and continued to about 1,200, a four-digit number. After all of them were developed and printed into sample photographs, we found that works about themes of the resistance war constituted the largest portion. These included two special topics: The First Anniversary of the East Hebei Puppet Government and The Suiyuan Campaign. These matched news reports published when he worked at the Zhung Wai Journalism Study Society. Later, I selected about 200 pictures I believed were of most importance. In the darkroom of a publishing house where my former schoolmate Wu Peng worked as director, I printed two sets of blowups: one set for me and the other for Wu to preserve. Most works I used in my writing and study were selected from those, which were thus the works of Fang Dazeng that gradually became known to the public.
In 1993, Taiwanese photographer Juan I-Jong came to Beijing. I showed him the samples printed with all the negatives. Mr. Juan was adept in darkroom techniques. After seeing the samples, he said he wanted to borrow some negatives to enlarge and print them into photographs. Juan had established a magazine called Photographers International in Taiwan and he intended to publish a special issue on Fang Dazeng. So, I took him to the home of Fang Dazengs sister and obtained the consent of Fang Chengmin. He borrowed about 50 negatives and went back to Taiwan to enlarge and print. Soon after he returned to Taipei, he published Fang Dazengs album in the 17th volume of Photographers.
During the 50th anniversary of the victory of the resistance war in 1995, I visited Fang Chengmins home and recorded a special interview. It was the only original sound material of Fang Chengmin. Several years later, her husband, Mr. Zha Shiming, passed away and she became paralyzed due to disease. She also developed a speech impediment......

 

 

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