日常生活中的影像實踐─以木柵人觀看《木柵人》攝影集為例

The Photografic Practice in Everyday Life: A case study of the Mushan People reading “The People of Mushan”

蕭明華(Ming-Hua Hsiao)

指導教授 ： 石計生

共同指導教授 ： 孫中興

國立臺灣大學/社會科學院/社會學研究所/碩士(2006年)

https://doi.org/10.6342/NTU.2006.00648

摘要

當代社會中，照片卻是我們最能夠投射感情的對象，也是我們建立個人生命史和的重要憑藉。但是在傳統社會學式對攝影的分析當中，偏重於攝影的社會功能，對於觀看照片主體的研究，也只從社會行動來加以分析，卻忽視了個人內在的過程。一般人類學式的研究更只把照片直接當作客觀社會實體的證據，用來輔佐已經建構好的論述內容；對於照片如何建構和擴延了現實性，完全不予討論。針對社會學攝影研究中這樣長久以來忽略了主觀感受和照片的豐富性的取向，本文試圖透過班雅明的理論，以說故事的方式，讓《木柵人》攝影集，和攝影集背後的故事，可以被如實地書寫，讓照片中的主角，可以對抗外國攝影家的鏡頭獵取，說出自己的話。
本論文將分四章來討論，前兩章討論理論和方法。第一章從攝影的研究為討論的起點，從不同角度探討攝影經驗的研究如何可能。第二章談攝影經驗中的回憶，分析攝影式的觀看所引起的回憶作用，討論觀看背後的對於照片的真實性預設，如何和回憶所具有的特質互相辯證，建立一個以回憶為基礎的攝影研究的方法論。並以此應用在《木柵人》老照片的故事上面。
第三章到第四章透過參與觀察和深入訪談，實際呈現《木柵人》攝影集裡面的照片故事，包括1.木柵地牌2.燒餅3.三輪車4.撞球台5.洗衣婦6.麵線7.市場雞飯8.婚禮等等。讓回憶將照片和過去的空間不斷交織在其中，形成一個「說故事的網絡」，並且由這樣在各種影像故事的交織編輯當中，隱喻出一九五○年代的木柵的社會關係。
希望能達到以下的結論：對觀看照片而言，唯有在個人的追憶當中，照片才對這個人產生了所謂的現實性，社會的現實性並不存在於外在的所謂客觀結構當中，而僅僅透過個人的追憶，可能是經常流動破碎且變化的追憶，現實性才得以展現出來，行動者是活在當下和追憶相互交織的空間當中，也只有這樣的空間，才是行動者行動的場域。而一本《木柵人》老照片集的故事，對於故事的回憶和述說，正展現了人們如何活在當下，當下同時是一個具有歷史性的空間，透過說故事，他們展現行動力，不但為他們生活空間提供具體想像，照片的重新發現更可能成為形塑集體回憶的契機。

關鍵字

攝影 ； 觀看 ； 記憶 ； 印象空間 ； 靜止辨證法 ； 單子 ； 配置

並列摘要

In contemporary societies photography is the most important object on which one projects his/her feelings and by which one builds personal life stories. In traditional sociology, however, the photography research places emphasis on its social function and takes the photographic seeing as a kind of social action while ignoring the individual inner process. In traditional anthropology, in addition, pictures were directly regarded as evidences that support an already-constructed discourse for the “objective” social reality, and there was no discussion about how pictures construct and expand the reality. This thesis is directed against the problems of the old photography researches and tries to bring to the fore the inner experience of photography. I attempt to make the people in the pictures of The People of Mushan tell their own memories and display them by Walter Benjamin’s constellation method in contrast with the American photographer’s “objective narrative” about the Mushan people, which involves a methodological problem of the photography researches in traditional sociology.
This thesis proceeds with four chapters. The first two chapters discuss the theory and the method. The first chapter discusses how an empirical photography research is possible through the transformation of the photographic seeing of Spectator to that of Specrator. The second chapter, in light of Benjamin’s dialectics at standstill, tries to build a methodology of photography research based on one’s memory. The last two chapters display the empirical data in combination with the method. The stories in The People of Mushan are displayed and constellated by different monads: the billiards, shop signs, the general store in Mushan , the women washing clothes by the river, a kind of Chinese noodles, the Chinese traditional market, the wedding and etc. These monads are selected by the memories of the people in the pictures. They build the space of impression through the web in telling stories, and the social relationships of Mushan in 1950’s could also be displayed by these monads.
This thesis concludes that for the Spectator of photography pictures are real only through his memories. Further, the social reality doesn’t exist as the objective structure but in the space in which the fluid personal memories are invoked by the Now. And the stories of The People of Mushan directly demonstrate how people live in the Now and create their own historical space of impression. Through telling stories, people’s life experiences are restored and a new model for future photography researches is built.

並列關鍵字

Photography ； See ； Memory ； Space of impression ； Dialectics at a standstill ； monad ； constellation

參考文獻

石計生，2005，〈極化城市的歷史與後現代意涵〉，歷史月刊第207期。

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