MOUCHA, Josef. 400 ASA Fotografie (400 ASA Photographs). Praha: 400 ASA, 2019, 72 pp. ISBN 978-80-7432-450-5.
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Basic information
Original name 400 ASA Fotografie
Name (in English) 400 ASA Photographs
Authors MOUCHA, Josef (203 Czech Republic, guarantor, belonging to the institution).
Edition Praha, 72 pp. 2019.
Publisher 400 ASA
Other information
Original language Czech
Type of outcome Book on a specialized topic
Field of Study 60401 Arts, Art history
Country of publisher Czech Republic
Confidentiality degree is not subject to a state or trade secret
Publication form printed version "print"
RIV identification code RIV/47813059:19240/19:A0000938
Organization unit Faculty of Philosophy and Science in Opava
ISBN 978-80-7432-450-5
Keywords in English 20st century photography; Photography Czech; History of photography; Documentary photography
Changed by Changed by: doc. Mgr. Josef Moucha, učo 50754. Changed: 2/3/2022 09:05.
Abstract
Knihu „400 ASA Fotografie“ sepsal a sestavil Josef Moucha. Obsahuje reprodukce snímků Karla Cudlína (1960), Jana Dobrovského (1960), Alžběty Jungrové (1978), Antonína Kratochvíla (1947), Jana Mihalička (1965), Tomkiho Němce (1963) a Martina Wágnera (1980). Publikace dokládá, že stěžejním zájmem sedmi autorů dvou generací je člověk a lidské společenství. Jednotlivé kapitoly propojuje realismus, s nímž fotografové pohlížejí na svět a s nímž zachycují jeho proměnlivost. Vztahují se především k současnosti, ale zajímá je i její podloží, tedy hlubší minulost. Jako by kladli otázky navzájem spjaté a každý na ně odpovídal svým zvláštním způsobem.
Abstract (in English)
The book "400 ASA Photographs" was written and conceived by Josef Moucha. The volume includes photos by Karel Cudlín (b. 1960), Jan Dobrovský (b. 1960), Alžběta Jungrová (b. 1978), Antonín Kratochvíl (b. 1947), Jan Mihaliček (b. 1965), Tomki Němec (b. 1963), and Martin Wágner (b. 1980). The common denominator in their individual approaches lies in the realism with which they view the world, and through which they capture its changeability. When considered overall, it is apparent that human society is the primary focus of all seven photographers from two generations. Although they mainly concentrate on the present day, they are also interested in its foundations, that is to say, in the deeper past. It is as if the individual photographers ask questions that are interlinked, but each one of them answers in their own unique way.
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