Writing about Japan as a freelancer.
Find some of my work at KaternJapan here.
Below you can find my academic publications.
Writing about Japan as a freelancer.
Find some of my work at KaternJapan here.
Below you can find my academic publications.
Academic publications
Book review: miyazakiworld
Ouweleen, Philo, 'Book review: Miyazakiworld : A life in art' in Andon, no. 108 (2019), pp. 42-43.
In Miyazakiworld, Japanese culture and animation scholar Susan Napier takes a close look at the life and work of the award-winning animator Miyazaki Hayao (1941), co-founder of the celebrated Studio Ghibli.
You can download and read the review in high-quality below.
| Book review: Miyazakiworld |
Ouweleen, Philo, 'Through the photographic lens: Japanese photographers visualising the triple disaster' in Andon, no. 106 (2018), pp.41-56.
ABSTRACT:
The Tōhoku disaster of 2011 evoked a wide array of artistic response. Focusing on photography, two main bodies of work can be distinguished. One has the apocalyptic ruins of Tōhoku as its focus, creating powerful and horrific images of destruction. The other visualises the invisible; depicting the horrors of radiation caused by the nuclear meltdown at the Fukushima power plant.
This article reflects upon the power of photography to record and interpret historic events. It also discusses ethical and aesthetic issues that arise when artists represent trauma and disaster. The work of three Japanese photographers and their visualisation of the triple disaster of 2011 - earthquake, tsunami, nuclear meltdown - is taken as a case study: Handa Yasushi, Hatakeyama Naoya and Takeda Shimpei.
ABSTRACT:
The Tōhoku disaster of 2011 evoked a wide array of artistic response. Focusing on photography, two main bodies of work can be distinguished. One has the apocalyptic ruins of Tōhoku as its focus, creating powerful and horrific images of destruction. The other visualises the invisible; depicting the horrors of radiation caused by the nuclear meltdown at the Fukushima power plant.
This article reflects upon the power of photography to record and interpret historic events. It also discusses ethical and aesthetic issues that arise when artists represent trauma and disaster. The work of three Japanese photographers and their visualisation of the triple disaster of 2011 - earthquake, tsunami, nuclear meltdown - is taken as a case study: Handa Yasushi, Hatakeyama Naoya and Takeda Shimpei.