This essay investigates the conditions of portrait photography in Taiwan during Japanese colonization. After a brief introduction to the theoretical issues concerning the indexical nature of the photograph, I consider the Japanese colonial photographic industry and its products (portraits) in three contexts: the state of photographic technology in the world at that time, the ideological machinery of colonization in Taiwan, and the wider phenomenon of colonial mimicry. In this consideration, I offer a diachronic analysis of photo albums and commercial directories that contain formal portraits of politically and economically influential (almost exclusively) men. Bringing these considerations together suggests an aspect of the colonial ideological machinery that has been underrepresented in other studies: the colonial portrait as a mask in several forms.

The purpose of this JAS roundtable is to reflect on the Cold War in Asia. Even to frame the issue in such terms is to confront the “formidable semantic contradiction that is inherent in the idea” of the Cold War (Kwon 2010, 7). For the very notion of the Cold War—as a “long peace” in which bipolar tensions did not lead to hot war—sits uneasily with the reality that in Asia bipolar tensions were imbricated in horrific conflicts that left millions of human casualties. On the other hand, to use the term “Cold War” simply as a label for a historical period, or “epoch” in Alfred McCoy's terms, is to invite imprecision. Moreover, even as a label for a historical period, the term still effaces the experience of much of the world, since the end date of the period is defined by the experience of Europe and the superpowers.