東松照明(1930-2012)が初めて沖縄を訪れたのは本土復帰に沸く1969年、基地の取材撮影のためだった。その後1972年、彼は沖縄に住民票を移し、二年近くを過ごしながら撮影を続けた。「沖繩に基地があるのではなく基地の中に沖繩がある」当時の沖縄を一言で表現したような大変印象的なフレーズが表紙に付されたこの写真集は、東松が沖縄滞在の初年度に発表したもので、戦後日本の社会的現実を、"被占領"と"アメリカニゼーション"の二つの視点で捉えようと試み、占領シリーズの最後の地としての沖縄に、たしかな座標を刻み込んだ意欲作だといえる。その後の沖縄以南の島々を渡り歩きながら、東南アジア全体の精神圏からの視座を持つ『
太陽の鉛筆』へと続くその序章に位置する一冊かも。ちなみに沖縄出身の写真家・比嘉康雄(1938-2000)は卒業論文のテーマにするほど東松照明に傾倒し、本書を手垢がつくまで見ていたという。おまけで彼の出版社・写研から印刷された写真集刊行案内3枚がついてます。
Shomei Tomatsu (1930-2012) first visited Okinawa in 1969, when he was returning to the mainland, to cover the base. Then in 1972, he moved his resident card to Okinawa and spent nearly two years shooting. Higashimatsu is the first to stay in Okinawa for this photobook with a very impressive phrase on the cover that expresses Okinawa at that time in one word, "There is no base in Okinawa, but in Okinawa." It was announced in the fiscal year, and tried to grasp the social reality of postwar Japan from the two perspectives of "occupied" and "Americanization", and gave certain coordinates to Okinawa as the final destination of the occupation series. It can be said that it is an ambitious work that has been carved. After that, while walking around the islands south of Okinawa, he has a perspective from the spiritual sphere of the whole Southeast Asia "
Sun Pencil span> ". By the way, it is said that Yasuo Higa (1938-2000), a photographer from Okinawa, was so devoted to Shomei Tomatsu that he made it the theme of his thesis, and watched this book until it got dirty. As a bonus, there are 3 photobook publication guides printed by his publisher, Shaken.
付属品 attachment:刊行案内3葉/3 sheets for publishing guide.