Abstract
“Are, bure, boke” –literally “rough, blurry, grainy”–, three words around which the history of postwar Japanese photography has been built. Moriyama Daido and Nakahira Takuma are two fine examples of this aesthetic that runs counter to photojournalism and the “beautiful image”, especially since their contributions to the magazine Provoke, which was published over just a few months between 1968 and 1969. Since then, their out-of-focus and contrasting photos have come to represent a “Provoke st...
Full Text 
Sign-in/Register to access full text options
Sign-in/Register to access full text options 
Published version (
Free)
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
