麦尔坎・科瑞高
南非约翰内斯堡大学博士后研究员
麦尔坎・科瑞高是南非约翰内斯堡大学南非艺术与视觉文化的博士后研究员。他2016年获得英国伦敦大学亚非学院（SOAS）的博士学位，专攻南非的华人摄影协会这个课题。他的研究散见《非洲艺术》、Safundi and De Arte等学术刊物。他目前正在进行南非种族隔离时期黑人与多种族摄影协会历史的研究。他的博士论文也正在改写出版当中。
Malcolm Corrigall
University of Johannesburg
Malcolm Corrigall is a postdoctoral research fellow with the South African Research Chair in South African Art and Visual Culture at the University of Johannesburg. His PhD, awarded by SOAS in 2016, focussed on the history of the Chinese Camera Club of South Africa. He has published articles in African Arts, Safundi and De Arte and is currently researching the hidden history of black and multiracial camera clubs in Apartheid South Africa and preparing a book manuscript on the Chinese Camera Club.
发表题目
南非的华人摄影俱乐部与海外华人摄影的想象社群
南非华人摄影俱乐部在1952年于约翰内斯堡成立，并在1950与1960年代相当活跃。该俱乐部是由约堡的小型华人社群的成员所成立的，他们发现自己因为种族原因被孤立于当地的摄影网络之外。尽管身受种族歧视之害，这群摄影师在本地与国际上都取得了成功与认可。在这篇论文里，我会聚焦在由该俱乐部于1956年和1964年在约堡组织的两场展览。这两场展览展出了世界华人离散摄影师的作品。在南非的脉络中，这两场摄影展有助于海外华人摄影师形塑一个想象的社群。透过这样的努力，该俱乐部及其成员强调了自身与理想化及去历史化的中华文化与文明之间所有权式的关连。对中华文明如此尊敬的设想，让俱乐部成员得以挑战当时被南非政权所体制化的关于华人卑弱的恐华论述。我会专注在该俱乐部成员如何挪用与翻译那些在20世纪初最先在中国大陆发展出来的摄影技巧；这些摄影技巧后来在东亚的摄影圈也获得了普遍的采纳。近年来，中国与非洲国家的互动获得了相当的关注。南非华人摄影俱乐部这个案例的研究，展现了这样的中非交流所拥有的历史，比一般认为的还要久远，而且跨越了单一国家的疆界。在考虑这个问题的同时，我也将探索个别的俱乐部成员如何看待自身与南非的关系，以及他们的作品如何与当地的摄影师社群互动。
Speech
The Chinese Camera Club of South Africa and Imagined Communities of Overseas Chinese Photography
The Chinese Camera Club of South Africa was formed in Johannesburg in 1952 and remained active throughout the 1950s and 1960s. The club was established by members of Johannesburg’s small Chinese community who found themselves excluded from local networks of photography on the grounds of race. This group of individuals achieved success and recognition both locally and internationally despite the racial discrimination they were subject to in apartheid South Africa. In this paper I will focus on two exhibitions organised by the Chinese Camera Club in Johannesburg in 1956 and 1964 that exclusively displayed the work of photographers from across the world-wide Chinese diaspora. These photographic exhibitions, located in a South African context, helped forge an imagined community of overseas Chinese photographers. Through this endeavour, the club and its members asserted a proprietorial connection with idealised and ahistorical notions of Chinese culture and civilisation. Such honorific conceptions of Chinese civilisation allowed club members to challenge Sinophobic discourses of Chinese inferiority that were institutionalised in the South African state. I will also look at how members of the Chinese Camera Club appropriated and translated photographic approaches that were first developed in mainland china in the early twentieth century and that were later popularised by camera clubs across East Asia. In recent years there has been a revival of interest in the interaction between China and countries on the African continent. The case study of the Chinese Camera Club shows that these exchanges have a longer history than is often assumed and one which often exceeds the boundaries of nation states. In considering this question I will also explore how individuals club members saw themselves in relation to South Africa, and how their work engaged with local photographic communities.