Accompanies an exhibition held at the J. Paul Getty Museum, 8 February-1 May 2011.

With over 150 photographs from late 19th century China, including stunning landscapes, architecture and city scenes, intimate portraits of Manchu brides in full wedding costumes and Mandarin officials in government attire.

'My' Self on Camera is the first book to explore first person narrative documentary in China's post-Mao era. Since the emergence of the individual as an ever more important social figure in China, this mode of independent filmmaking and cultural practice has become increasingly significant. Combining the approach of cultural ethnography, interviews, and textual analysis of selected films, this study examines the motivations, key aesthetic features and ethical tensions of presenting the self on camera, as well as the socio-political, cultural and technical conditions surrounding its practice. This book problematises how the sense of self and subjectivities are understood in contemporary China, and provides illuminating new insights on the changing notion of the individual through cinema.

Where is the line between digital utopia and digital police state? Surveillance State tells the gripping, startling, and detailed story of how China’s Communist Party is building a new kind of political control: shaping the will of the people through the sophisticated—and often brutal—harnessing of data. It is a story born in Silicon Valley and America’s “War on Terror,” and now playing out in alarming ways on China’s remote Central Asian frontier. As ethnic minorities in a border region strain against Party control, China’s leaders have built a dystopian police state that keeps millions under the constant gaze of security forces armed with AI. But across the country in the city of Hangzhou, the government is weaving a digital utopia, where technology helps optimize everything from traffic patterns to food safety to emergency response. Award-winning journalists Josh Chin and Liza Lin take readers on a journey through the new world China is building within its borders, and beyond. Telling harrowing stories of the people and families affected by the Party’s ambitions, Surveillance State reveals a future that is already underway—a new society engineered around the power of digital surveillance.

In Developing Mission, Joseph W. Ho offers a transnational cultural history of US and Chinese communities framed by missionary lenses through time and space—tracing the lives and afterlives of images, cameras, and visual imaginations from before the Second Sino-Japanese War through the first years of the People's Republic of China. When American Protestant and Catholic missionaries entered interwar China, they did so with cameras in hand. Missions principally aimed at the conversion of souls and the modernization of East Asia, became, by virtue of the still and moving images recorded, quasi-anthropological ventures that shaped popular understandings of and formal foreign policy toward China. Portable photographic technologies changed the very nature of missionary experience, while images that missionaries circulated between China and the United States affected cross-cultural encounters in times of peace and war. Ho illuminates the centrality of visual practices in the American missionary enterprise in modern China, even as intersecting modernities and changing Sino-US relations radically transformed lives behind and in front of those lenses. In doing so, Developing Mission reconstructs the almost-lost histories of transnational image makers, subjects, and viewers across twentieth-century China and the United States.

Reprint of the original, first published in 1873.

"In this book, Edward Burtynsky presents photographs of the remnant and newly established zones of Chinese industrialization - those places created while realizing the "glory" of wealth for a powerful civilization yearning to move forward and join the ranks of modern nations. Using diplomatic channels, Burtynsky has gained rare access to these sites, creating images that are at once arresting and unsettling. These photographs afford us privileged glimpses of the vast social and economic transformation currently underway in China." "Burtynsky casts a watchful eye over the extreme expressions of Chinese industry. His subjects include the Three Gorges Dam, at present the world's largest engineering project and Bao Steel, China's biggest steel producer. He explores the vanishing dinosaurs of old industrial complexes in the north eastern "rust belt" and shipyards at Qiligang, the single most concentrated area of shipbuilding in the country."--BOOK JACKET.

This book is a photographic exploration of life in the old and rapidly disappearing quarters of Shanghai, with accompanying poems and essays by the author of fiction and poetry, Qiu Xiaolong. The photographs, all taken in a documentary style over a period of five years, represent an intimate and invaluable visual natural history of a way of life in the workers’ quarters and other central districts of the city that held sway throughout the 20th century and into the early years of the 21st century, before yielding to the ambitious ongoing efforts at urban reconstruction. Mr. Qiu, whose best-known books are largely set in this old city, where his protagonist Inspector Chen walks around in investigations, is suited like few others to provide a lyrical accompanying text whose purpose is to celebrate the life, beauty and texture of this world before it has vanished altogether. No photographer has pursued this subject with more dedication and persistence than Mr. French, whose photographs of Shanghai have been exhibited on four continents. Taken together, the work of these two contributors offers compelling esthetics and lasting historical value for lovers of Shanghai, past, present and future.

This book is the first extensive survey of early Chinese photographers in any language. It is profusely illustrated with more than 400 photographs, many of which are published here for the first time, including a fine selection of Foochow landscapes from the studios of Lai Fong, China's leading photographer during this period, and Tung Hing. Early chapters introduce the historical milieu from which the earliest Chinese photographers emerged and illuminate the beginnings of photography in China and contemporary Chinese reactions to its introduction. Early Chinese commercial photography - both portrait and landscape - are also discussed with reference to similar genres in a more international context. Individual chapters are devoted to Chinese photographers in Peking, Hong Kong, Canton, Shanghai, Foochow, Amoy, Hankow, Tientsin and other ports, Macau and Formosa. These are followed by a series of appendices: writings on photography in China by John Thomson and Isaac Taylor Headland and an invaluable guide to the identification of photographs from the Afong Studio. It concludes with an extensive bibliography, general and regional chronologies, and a biographical index. Publisher's note.