Despite the censorship of dissident material during the decade
between the Manchurian Incident of 1931 and the outbreak of the
Pacific War in 1941, a number of photographers across Japan
produced a versatile body of Surrealist work. In a pioneering study
of their practice, Jelena Stojkovic draws on primary sources and
extensive archival research and maps out art historical and
critical contexts relevant to the apprehension of this rich
photographic output, most of which is previously unseen outside of
its country of origin. The volume is an essential resource in the
fields of Surrealism and Japanese history of art, for researchers
and students of historical avant-gardes and photography, as well as
forreaders interested in visual culture.
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