Abstract
In the 1970s, the Japanese photographic world was dominated by men, and Japanese society grappled with changing gender norms. Women photographers raised their cameras in response and challenge to the status quo, carving out a space for new forms of photographic work. This essay examines the works of Ishiuchi Miyako, Matsumoto Michiko, Imai Hisae, and others from the perspective of sexual politics, while at the same time considering the broader historical context of Japan in the 1970s.
Published Version
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