Author: Jeehey Kim
Source: Journal of War & Culture Studies
Link: https://www.tandfonline.com/doi/full/10.1080/17526272.2025.2459494
Abstract
The article examines international photography contests in East Asia from the 1950s to the 1970s and the influence of select photographers on ideological struggles during the Cold War. It focuses on salon photography, a style blending conventional pictorialism and modernist aesthetics, which was often overlooked by critics who favoured realism and documentary styles in the region.
hese photographers aimed to create a distinct aesthetic by integrating Western trends, yet chose local subjects to symbolize their cultures for international competitions. The article challenges the dismissal of salon photography, arguing that it played a significant ideological role in the Cold War, symbolizing artistic freedom associated with the Western Bloc.
Through a study of photographers from South Korea, Taiwan, Singapore, and South Vietnam, the article explores how their work contributed to anti-communist solidarity and how salon photography’s aesthetic choices were intertwined with political motivations, reflecting the geopolitical climate of the time.