Yuanqing Lin
Exploring the Flux and Reshaping of Masculinity through the Lens: Analyzing the Male Image in Chinese Documentary Photography (1980-2024)

Abstract

Currently, the societal understanding of masculinity is undergoing a profound transformation. With the rise of gender equality awareness and the proliferation of multiculturalism, people are beginning to reassess and challenge traditional gender roles and norms. Masculinity are no longer narrowly defined but are showing more diverse and inclusive features. In this context, documentary photography, as a highly narrative form of artistic creation, plays a vital role in documenting and guiding this process of change.

Since the 1980s, Chinese society has undergone profound changes due to economic development and significant social transformation brought about by the reform and opening up policy. During this critical period, there have been substantial changes in social strata, population mobility, and cultural perceptions. Influenced by globalization and the influx of Western male studies, people have begun to reflect on traditional masculinity, leading to a more diversified and enriched representation of male images in the field of art.

However, current research on male images in Chinese art primarily focuses on film, painting, fashion, and advertising. There remains a significant research gap in the study of male images in documentary photography. Therefore, this paper aims to analyze the evolution of male images in Chinese documentary photography from the 1980s to the present under the theme "Exploring the Flux and Reshaping of Masculinity Through the Lens."

The paper will first conduct background analysis through literature review, starting with theories on Western masculinity and integrating insights from Chinese social research to specifically examine the fluidity of masculinity in China. Subsequently, it will demonstrate the research significance of male image studies in documentary photography by analyzing the evolution of photographic subjects and styles in Chinese documentary photography from 1980 to the present, along with relevant literature.

Subsequently, using documentary photography cases as the research subject and ultimately discussing the flux and reshaping of masculinity over time using exhibition curating as a form of textual research. It is hoped that through this study and work review, the research on male images in Chinese documentary photography can be supplemented.