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Since the late 19th century,the introduction of Kodak camera in China triggered the enthusiasm for outdoor shooting and snapshot,inviting more amateur photographers to capture the spontaneous moments in the everyday life.This essay explores the encounter between Kodak camera and the last emperor Pu Yi in the Forbidden City in the 1920s.Through an examination of early photographic portraits and snapshots of Pu Yi,I intend to discuss the issues of self-representation and the aesthetics of everyday life in the Pu Yis photographs.The early photographic portraits of Pu Yi highlight a tension between two identities:an emperor captive in the Forbidden City and a modem man had enthusiasm on the western culture,suggesting his attempts to embrace a modern self.Within the two years of Kodaks introduction in the Forbidden City,Pu Yi and his empress Wan Rong concubine Wen Xiu all enjoyed the exploration of Kodak cameras.The snapshots of reading,smoking,watering the flowers,riding the bicycle,practicing Chinese boxing represent the aesthetics of everyday life in the Forbidden City.The vitality,spontaneity and immediacy of these forgotten photographs of the Last Emperor provide a new perspective to explore the modernity of Chinese photography.