{"id":"japanese-realism-photography","no":386,"name":"Japanese Realism Photography","ja":"リアリズム写真運動","era":"1950–1958","family":"写真運動","kind":"スタイル","collection":"Dictionary expansion 19","addedAt":"2026-08-18","source":{"title":"土門拳記念館","url":"http://www.domonken-kinenkan.jp/"},"reference":{"status":"verified","pageUrl":"http://www.domonken-kinenkan.jp/","credit":"土門拳記念館"},"essence":"土門拳が「絶対非演出の絶対スナップ」を掲げて主導した戦後日本の運動。『ヒロシマ』『筑豊のこどもたち』の直視が、アマチュア月例投稿を巻き込み社会と写真を結び直した。","cues":["絶対非演出の原則","社会的主題の直視","接近した広角","粒子の粗い印画"],"intents":["信頼","反骨","親密"],"works":["一次資料と代表作から成立条件を比較する","別媒体へ応用できる構成原理を取り出す"],"recipe":{"type":"参照作品の文字・記号・スケールを観察する","layout":"視線と情報を支配する構造を一つ抽出する","material":"時代・地域・制作工程に固有の素材と挙動を確認する"},"avoid":"表面的な記号へ還元せず、時代・地域・技術・制作主体の文脈を確認する。","colors":["#e9e6dd","#67635d","#171615"],"motif":"photo","pair":["provoke","street-photography"],"study":["土門拳『ヒロシマ』","『カメラ』誌の月例","木村伊兵衛との対比"],"en":{"essence":"The postwar Japanese movement Domon Ken led under 'absolutely unstaged, absolute snapshots.' Hiroshima and Children of Chikuho faced society directly, drawing amateur monthly contests into the reconnection of photography and life.","cues":["The unstaged principle","Social subjects faced directly","Close wide-angle work","Coarse-grained prints"],"works":["Comparing primary sources and canonical works","Extracting principles that transfer to other media"],"recipe":{"type":"Observe the letters, signs and scale of reference works","layout":"Extract the one structure that governs gaze and information","material":"Verify the materials and behaviors specific to era, region and process"},"avoid":"Don't reduce it to surface signs. Verify the context of era, region, technology and makers.","study":["Domon Ken's Hiroshima","the Camera magazine monthlies","the contrast with Kimura Ihei"]}}