纪實摄影舆意羲建構的去／脈絡化：兩個案例分析

在1980年代後期盛行於台灣的紀實攝影，是以西方寫實主義攝影的理念與實踐，做為影像介入政治社會的参考依據；而西方紀實攝影的理念基礎，則是建立在西方實證主義認識論應用於攝影上的一些主张。以见證的概念来紀錄社會的攝影實踐宣稱，「真實」可如是被再現，意義也從中準確產生。本文透过封《人間》雜誌「返鄉」專輯與《给台潜一個機會》這兩組紀實攝影作品的批判性分析，提出兩個論點：一、纪實攝影作品的意義建構，並非僅决定於影像文本，而常常是經由脈絡化或去脈絡化特定之攝影文本的效果而產生。二、1930年代普遍實踐於西方的紀實攝影，和1980年代的台灣纪實攝影，在社會與文化脈絡上大有差别；前者以理性／客觀主義等概念為基礎，試圖透過紀實攝影維護既有的政治社會結構，後者則以見證式的紀實攝影，召喚人民對當政者的憤怒情緒，試圖的破原有的秩序與結構。

關鍵字

寫實主義攝影；社會紀實攝影；實證主義；去／脈絡化；攝影話語；集體感性；理性主義

並列摘要

Social documentary photography has been enthusiastically prasticed in the second half of 1980s Taiwan, which is largely based on the notion and practice of Western realist photography as a way to engage in politics and society. And, propositions of social documentary photography are rooted in Western positivist epistemology, which claims that 'reality' can be represented by photography's witnessing functions, and meaning thus produced. This paper examines two sets of photographic works from Ren Jian magazine and Give Taiwan a Chance, and argues that photographic meaning and political discourses are substantially constructed by contextualising the images in one case, and by de-contextualising it in the other. Further, the paper speculates on contextual differences in culture and society as seen in social documentary practices between the 1930s West and the 1980s Taiwan. While the former applies documentary photography in a rational, detached way to stabilise socio-political status quo, the latter uses it to summon a collective emotion against the state.

並列關鍵字

realist photography ； social documentary photography ； positivism ； de-/contextualisation ； photographic discourse ； collective emotionalism ； rationalism