³ÆÂç³Ø¤Î¼Ì¿¿Éô¤é¤Ë¤è¤Ã¤ÆÁÈ¿¥¤µ¤ì¤¿ËܳÊŪ¤ÊÁ´¹ñÁÈ¿¥¤Ç¤¢¤ë¡ÖÁ´ÆüËܳØÀ¸¼Ì¿¿Ï¢ÌÁ¡×¤¬ÀßΩ¤µ¤ì¤¿¤Î¤Ï¡¢Àï¸å¤Î1952ǯº¢¤À¤È¤µ¤ì¤Æ¤¤¤ë¡£¤½¤Î¸å1950ǯÂå¸åȾ¤Ë¤Ê¤ë¤È¸øÊ矤ä¼Ì¿¿¹ÖºÂ¤ò³«ºÅ¤¹¤ë¤Ê¤É¡¢³èȯ¤Ê³èÆ°¤òŸ³«¤·¡¢µðÂçÁÈ¿¥¤Ø¤ÈȯŸ¤·¤¿¡£Åö»þ¤Ï¤¢¤ë¥Æ¡¼¥Þ¤Ë±è¤Ã¤Æ¥¹¥È¡¼¥ê¡¼¤òºî¤ê¡¢Éô°÷¤¬Ê¬Ã´¤·¤Æ»£±Æ¤Ë¤¢¤¿¤ê¡¢¤½¤·¤Æ¼Ì¿¿¤òÁª¤Ó¡¢¹½À®¤¹¤ë¡Ö¶¦Æ±À©ºî¡×¤È¤¤¤¦ÊýË¡¤Ç±¿±Ä¤µ¤ì¤Æ¤¤¤¿¡£¥Æ¡¼¥Þ¤ÏÂçÄñ¤Î¾ì¹ç¡¢¼Ò²ñÌäÂê¤ä¤½¤ÎÃÏ°è¤òÂоݤȤ¹¤ë¤â¤Î¤¬Â¿¤«¤Ã¤¿¤½¤¦¤À¤¬¡¢1960ǯÂå¤ËÆþ¤ë¤È¤³¤ÎÊýË¡¤¬¡¢¥µ¡¼¥¯¥ë¤ò°Ý»ý¤¹¤ë¤¿¤á¤ÎÊýË¡¤È¤Ê¤ê·Á³¼²½¤¬ÌÜΩ¤Ä¤è¤¦¤Ë¤Ê¤Ã¤¿¡£¤½¤ó¤Ê¸½¾õ¤òÂÇÇˤ·¤è¤¦¤È¿·¤¿¤Ê³èÆ°¤È¤·¤Æ¡¢»£±Æ¤ò¸Ä¡¹¿Í¤ÎÌäÂê¤Ë°Ñ¤Í¤ë¤Î¤Ç¤Ï¤Ê¤¯¡¢¤À¤«¤é¤È¸À¤Ã¤Æ¡Ö¶¦Æ±À©ºî¡×¤Î¤è¤¦¤Ë¤¢¤é¤«¤¸¤áºî¤é¤ì¤¿¥¹¥È¡¼¥ê¡¼¤ò³¨²ò¤¤¹¤ë¤â¤Î¤Ç¤â¤Ê¤¤¡¢¶¦Ä̤μçÂê¤ò»ý¤Á¤Ê¤¬¤é¸Ä¡¹¿Í¤Î»£±Æ¹ÔÆ°¤ò½¸Ì󤷤Ƥ¤¤¯¡Ö½¸ÃÄ»£±Æ¹ÔÆ°¡×¤Ø¤È·ë¼Â¤·¤¿¡£¤½¤ÎÂåɽŪ¤Ê¼Ì¿¿½¸¤¬Ëܽñ¡£ÈïÇøÌäÂê¤È¤·¤Æ¤Î¡Ö¥Ò¥í¥·¥Þ¡×¤Ç¤Ï¤Ê¤¯¡¢Ã±¤Ê¤ëÃÏÊýÅÔ»Ô¡Ö¹Åç¡×¤Ç¤â¤Ê¤¤¡¢¼«¿È¤¿¤Á¤ÎÊѳפÎÂоݤȤ·¤Æ¡Öhirou-sima¡×¤ò¿ø¤¨¤Æ¤¤¤ë¡£Ê¸¾Ï¤â¤Ê¤¯¡¢¤Þ¤¿»£±Æ¼Ô¤âʬ¤«¤é¤º¡¢¤¿¤À¤¿¤ÀÇò¹õ¤Î¹â¥³¥ó¥È¥é¥¹¥È¤Î¥¤¥á¡¼¥¸¤¬Ï¢¤Ê¤ë¡£ÉÕ°¤Îºý»Ò¤Ë¤Ï»°Î¤ÄÍÆ®Áè¤Ë»²²Ã¤·¤¿³èÆ°²È¡¦¸Í¼°ìºî¡¢ºî²È¡¦¹¾»É¾¼»Ò¡¢¥ë¥Ý¥é¥¤¥¿¡¼¡¦ÃÝÃæÏ«¡¢ÈïÇú¼ÔÀÄǯƱÌÁ¤«¤éĹëÀîÈþÂå»Ò¡¢¼Ì¿¿²È¡¦ÀîÅÄ´îµ×¼£¤¬´ó¹Æ¤·¤Æ¤¤¤ë¡£
It is said that the "All Japan Student Photography Federation", a full-scale national organization organized by the photography departments of each university, was established around 1952 after the war. After that, in the latter half of the 1950s, it developed into a huge organization by developing active activities such as holding public exhibitions and photography courses. At that time, it was operated by a method called "co-production" in which a story was created according to a certain theme, the members shared the shooting, and the photographs were selected and composed. Most of the themes were about social issues and the area, but in the 1960s, this method became a way to maintain the circle and became more and more mere ghosts. As a new activity to break through such a situation, it has a common theme that does not entrust shooting to individual problems, but does not depict pre-made stories like "co-production". However, it has resulted in "group shooting behavior" that aggregates individual shooting behavior. This book is a representative photo book. It is not "Hiroshima" as an exposure problem, nor is it just a local city "Hiroshima", but "hirou-sima" is set as a target of their own transformation. There is no text, and the photographer does not know, just a series of black-and-white high-contrast images. The attached booklet is contributed by activist Issaku Tomura, writer Akiko Esashi, reportage writer Rō Takenaka, Miyoko Hasegawa from the A-bomb survivor youth alliance, and photographer Kikuji Kawada.
¼Ì¿¿/À©ºî¡§Á´ÆüËܳØÀ¸¼Ì¿¿Ï¢ÌÁ¹Åç¥Ç¡¼¼Â¹Ô°Ñ°÷²ñ
½ÐÈÇ¼Ò publisher¡§³ô¼°²ñ¼Ò491
´©¹Ôǯ year¡§1972ǯ3·î18Æü
¥Ú¡¼¥¸¿ô pages¡§
¥µ¥¤¥º size¡§H235¡ßW174mm
¥Õ¥©¡¼¥Þ¥Ã¥È format¡§¥Ï¡¼¥É¥«¥Ð¡¼/hardcover
¸À¸ì language¡§
ÉÕ°ÉÊ attachment¡§ÊÌ»æºý»Ò/pamphlet.
¾õÂÖ condition¡§Îɹ¥¤Ç¤¹¡£/very good.