Award-winning celluloid and digital imagery of some of the defining moments of 2001 goes on display at the Eslite Bookstore's Tunhwa branch tomorrow afternoon, when the World Press Photo Exhibition once again rolls into town as part of its annual 35 country tour.
Established by the Netherlands-based World Press Photo Foundation, the World Press Photo contest, which is now in its 45th year, is regarded by many as the world's leading press photography contest and attracts thousands of entries from photojournalists, news agencies, newspapers and magazines from around the world.
Divided into nine categories and nine sub-categories ranging from general news, spot news, people in the news, the arts, sports and children, the contest is judged by an independent jury consisting of nine members.
PHOTO COURTESY OF WORLD PRESS
"Because the judges come from many different cultures and backgrounds this ensures there is never any bias towards one geographical area or culture," said Canadian photojournalist, David W. Smith, who took second place in the general news category in 2000 for a 921 earthquake shot. "The sheer volume of the pictures sent in must make it a real chore to honor a select few."
This year the foundation received a record number of submissions. A staggering 49,235 photos were submitted by 4,171 photographers representing 123 countries.
In addition to the increase in entrants, the foundation also saw a huge rise in the number digitized entries. Whereas in 2001 only 27.5 percent of the images were on digital format, this year 55.7 percent of the works were digital photographs.
Of all the thousands of entrants it was Danish photographer, Erik Refner who took top honors, however. Repeating the 2000 success of fellow Dane, Claus Bjorn Larson, by taking the World Press Photo of the Year for a shot that appeared in the Danish daily, Berlingske Tibende.
Taken in Pakistan in June of last year, the moving and artistic black and white shot shows the body of a young Afghan refugee boy being prepared for burial.
"Denmark has become a hotbed for photo journalists in recent years. There are so many good photo journalists there it's quite amazing when you consider the size of the country," said Smith. "I reckon a lot of people expected to see a photo of a plane crashing into a building winning, but I think the jury wanted to look a bit deeper into the cause and effect of last years biggest news story."
While Taiwan based photographers such as Smith and Chang Chien-chi (
Sarina Yeh (
"I feel that the popularity of documentary photography in Taiwan is being replaced by a trend that sees local photographers leaning towards contemporary art, rather than the recording of global events for prosperity," Yeh said. "Which is a real shame. As with the lack of international news coverage by local television stations, it could in the long run lead to younger generations becoming unaware of international affairs and events."
While photography buffs will be able to view 200 of the most vivid celluloid images of last year during the three week long exhibition, very few will be able to take copies of the shots home with them.
Organizers have been out of luck on obtaining copies of the popular coffee table yearbook that accompanies the exhibition. According to Yeh, only 30 copies of the book, which contains all 200 of the photos, will be available at the exhibition. Copies are available, however, directly from the foundation at www.worldpressphoto.com.
Unlike previous World Press Photo exhibitions, this year's show doesn't focus solely on still photographs.
In addition to the photograph exhibition, organizers will be screening a series of documentaries made by German, French and Japanese directors. These documentaries will be screened in Eslite Bookstore's multimedia room, which is adjacent to the art space on Sunday, July 14, July 21 and July 27 at 2:30pm.
In the March 9 edition of the Taipei Times a piece by Ninon Godefroy ran with the headine “The quiet, gentle rhythm of Taiwan.” It started with the line “Taiwan is a small, humble place. There is no Eiffel Tower, no pyramids — no singular attraction that draws the world’s attention.” I laughed out loud at that. This was out of no disrespect for the author or the piece, which made some interesting analogies and good points about how both Din Tai Fung’s and Taiwan Semiconductor Manufacturing Co’s (TSMC, 台積電) meticulous attention to detail and quality are not quite up to
Chinese Nationalist Party (KMT) Chairman Eric Chu (朱立倫) hatched a bold plan to charge forward and seize the initiative when he held a protest in front of the Taipei City Prosecutors’ Office. Though risky, because illegal, its success would help tackle at least six problems facing both himself and the KMT. What he did not see coming was Taipei Mayor Chiang Wan-an (將萬安) tripping him up out of the gate. In spite of Chu being the most consequential and successful KMT chairman since the early 2010s — arguably saving the party from financial ruin and restoring its electoral viability —
It is one of the more remarkable facts of Taiwan history that it was never occupied or claimed by any of the numerous kingdoms of southern China — Han or otherwise — that lay just across the water from it. None of their brilliant ministers ever discovered that Taiwan was a “core interest” of the state whose annexation was “inevitable.” As Paul Kua notes in an excellent monograph laying out how the Portuguese gave Taiwan the name “Formosa,” the first Europeans to express an interest in occupying Taiwan were the Spanish. Tonio Andrade in his seminal work, How Taiwan Became Chinese,
Toward the outside edge of Taichung City, in Wufeng District (霧峰去), sits a sprawling collection of single-story buildings with tiled roofs belonging to the Wufeng Lin (霧峰林家) family, who rose to prominence through success in military, commercial, and artistic endeavors in the 19th century. Most of these buildings have brick walls and tiled roofs in the traditional reddish-brown color, but in the middle is one incongruous property with bright white walls and a black tiled roof: Yipu Garden (頤圃). Purists may scoff at the Japanese-style exterior and its radical departure from the Fujianese architectural style of the surrounding buildings. However, the property
RSS