The visual metaphor in the universe of photographer Tatsuya Tanaka
architecturization of a miniature world
DOI:
https://doi.org/10.24310/Fotocinema.2023.vi26.15571Keywords:
Photography, visual metaphor, Tatsuya Tanaka, visual rhetoric, miniature, architecturizationAbstract
The work of the Japanese photographer Tatsuya Tanaka (1981) has recently attracted a great deal of interest. His discourse is based on the visual metaphor (from which so many photographers have drawn throughout history since the beginnings of photography, and especially in the avant-garde) but, unlike the latter, he confines it to a distinctly Japanese cultural environment: with miniatures that populate his images, linking his work to Japanese artisanal mythology, and to the dioramas formulated by Daguerre, which reconstructed suggestive scenes of everyday life. We will study four pieces with a methodology consisting of photographic analysis and an exclusive interview granted to us by the author himself. Our conclusions are that his proposal is radically referential, that it connects with the most atavistic Japanese artistic tradition but that, nevertheless, it is profoundly generational and designed for an audience that follows social media, especially instagram, where Tatsuya Tanaka has accumulated more than 4 million followers with only three published books.
Downloads
References
Downloads
Published
Dimensions
Citations
Issue
Section
License
All contents published in Fotocinema Revista científica de cine y fotografía are protected under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license. All about this license is available in the following link: <http://creativecommons.org/licenses/by-nc-sa/4.0>
Users can copy, use, redistribute, share and exhibit publicly as long as:
- The original source and authorship of the material are cited (Journal, Publisher and URL of the work).
- It is not used for comercial purposes.
- The existence of the license and its especifications are mentioned.
There are two sets of authors’ rights: moral and property rights. Moral rights are perpetual prerogatives, unrenounceable, not-transferable, unalienable, imprescriptible and inembargable. According to authors’ rights legislation, Fotocinema. Revista científica de cine y fotografía recognizes and respects authors moral rights, as well as the ownership of property rights, which will be transferred to University of Malaga in open access. The property rights are referred to the benefits that are gained by the use or the dissemination of works. Fotocinema. Revista científica de cine y fotografía is published in an open access form and it is exclusively licenced by any means for doing or authorising distribution, dissemination, reproduction, , adaptation, translation or arrangement of works.
Authors are responsable for obtaining the necessary permission to use copyrighted images.
13.png)
