少女的征途，是星辰大海—惡女⾛四方

You Aren’t My Destiny—The Stars: The Girls’ Destination.

蕭辰羽(Chen-Yu Hsiao (Starri Hsiao))

指導教授 ： 黃建宏

國立臺北藝術大學/美術學院展演書面報告/美術學系碩士班創作組/碩士(2016年)

摘要

本論述題目為「少女的征途，是星辰大海—惡女走四方」，旨思考我影像的系列作品：《少女的征途，是星辰大海》（You aren’t my Destiny）。論述部份分成五章，第一章的〈緒論〉介紹論述與創作的緣起及其相關背景，第二章〈惡女革命一世紀〉以摩登女子、單身女子以及第三波女性主義與後女性主義三個部分，闡述惡女革命的歷史過程。第三章〈少女的征途，是星辰大海〉，為作品的創作歷程，與個人《少女的征途》一作的展覽記錄。第四章〈扮裝自拍的編導式攝影〉則從當代攝影與攝影史契入，分別梳理扮裝自拍與編導式攝影的歷史與當代發展，對個人的創作方法與美學影響。

我想以作品處理的是女性受傳統觀念、大眾傳播影響，面對社會框架的問題。時至今日，在臺灣的大眾戲劇或偶像劇中，「好女孩」還是舊時單一、扁平的形象，在大眾電影、戲劇中，女性大多好傻好天真、不知人世險惡，單純、去情慾化，因此需要男主角的保護與疼愛。家父長制的婚家制度，似乎成為了每個人走向幸福結局的必備條件，這樣會帶來什麼樣的影響呢？女性觀眾認同電視、戲劇、電影中的女性形象，從中建構對自我的認同，將自己套入「合宜女性」的框架，持續削弱女性的發展與權益，加強與鞏固了父權社會的結構。

創作初衷即是要透過切身體驗，來面對和處理性別相關的議題。本創作論述從個人的體驗出發，因此會有許多第一人稱論述。事實上，我原本深受大眾文化與傳播媒體影響。在童年時期，受瓊瑤劇與偶像劇影響，建立了我對自我形象的建構與認同，我曾經和其他女孩並無不同，嚮往戀愛、婚姻，與命中註定的戀人；到青少女時期，受《慾望城市》啟發，發現原來女性也可以選擇自主與自由，婚姻不是女孩唯一的目的地。成年後，我不減對大眾傳播與文化的熱忱，談了幾次戀愛，發現自己受不了受父權潛移默化影響的人；就讀研究所，我開始研究後女性主義，一路探究第三波女性主義、單身女孩與摩登女子——她們成為我最感興趣的研究主題，是我關注大眾媒體中的女性形象、觀察現實世界的良師益友，更能在接收訊息時看見背後的意識形態，能夠清明看待與面對。

大眾文化與影像的傳遞直接且明快，可以使用的刻板形象眾多；也因為明白大眾電影、戲劇其實都只是傳播的工具，工具本身沒有對錯問題，能以影像的方式加諸框架，就能以同樣的方式使觀眾能夠認知到背後的意識形態，因而選擇以扮裝自拍的編導式攝影的方式創作，在作品中實踐自己對自己人生的各式想像，試圖在各種可能性中覺察與面對自己：我真正想要的是什麼？我支持女生不再需要扮演「傻白甜」，降格自己只為博得男性的喜愛，像 Bridget Jones 真誠做自己，失敗又有什麼關係？

最後的結語是作為一名少女征途創作經歷的宣言與誠摯地邀約。這樣的實踐從一個渺小的自己出發同時，也以切身體驗的蛻變歷程分享邀約他人。期待，總有一天自己所身處的社會，人人皆能得到應得的尊重，更在接納與認識自己中，找到心靈的自由。儘管深知創作作品、撰寫此創作論述，可能無法為世界帶來太大改變，而望能以微薄之言、真誠心意，為古今中外那些不符合社會期待與價值觀的「惡女」發聲，她們的敢愛敢恨、真誠與良善，不願屈服於世俗與社會框架的無比勇氣。

關鍵字

惡女 ； 婚姻 ； 摩登女子 ； 單身女子女性主義 ； 編導式攝影 ； 自拍肖像照

並列摘要

The thesis is entitled "The Stars: The Girls’ Destination“. The purpose is to think my works: " You Aren’t My Destiny". The thesis was separated into five chapters. The first chapter introduces the origin and the related background, and the second chapter, "the first century of the evil woman revolution". Using the flapper, single girl, the third wave feminism and the post feminism three parts to elaborate the history and the process of the “bad girl”’s revolution. The third chapter, “You are not my destiny", is the record of the exhibition and creation process of the artwork. In the fourth chapter,“Stage self-portraits” is written from the perspective of contemporary photography and photography history to analyzing the history and the recent development of Self-portraits and Fabricated to be Photography, and their influences on my creation process and aesthetics.

I want to deal with the influences women got from traditional concept and social media, and also the problems when facing the social framework. Today, in Taiwan's popular drama or idol drama, "good girl" is still a single, flat image, in the popular films, dramas, women are mostly silly and innocent, unsophisticated, and without erotic feelings; therefore, they need the protection from male character. The patriarchal family system seems to have become the prerequisite for everyone to have a happy ending in life. So what kind of impact would it brings up? Female audiences agree with the female image in TV, dramas and films, build their self-identity in the framework of "suitable women" which continue to weaken the development and rights of women, strengthen and consolidate the structure of patriarchal society.

The original intention of my work is to face and deal with the related issues through my personal experiences. The thesis discusses from the personal experience, so there will be many first-person discourses. In fact, I am deeply influenced by popular culture and media. In childhood, by the Qiong Yao drama and idol drama, the establishment of my self-image and identity, I and other girls are no different, longing for love, marriage, and destined lovers; to adolescent,“Sex and the City” inspired me, and I finally found that women can also choose the freedom, and marriage is not the only destination of female. In my adulthood, I didn’t lose my passion for popular culture and media. I fell in love for several times and found myself couldn’t stand for those who had deep influence of patriarchal system. In graduated school, I began to study post-feminism and explored the third wave of feminism. Flapper, single girl, the third wave feminism become my most interested research topics, which are also being as the mentor to me helping me think clearly when observing and receiving messages of female from media and reality.

Popular culture and the transfer of image are direct and quick, so there are lots of stereotyped image which can be used, also understand the films and the dramas are in fact the only the tools of broadcasting, so they can't be judged. Therefore, if the stereotyped concept can be added to the images, the audiences through watching can recognize it. Because of that, I chose to make my work through choreographer type photography of dressing up selfie, fulfilled myself of all kinds of imagination of life, trying to detect and face myself to all the possibilities I can have: What do I really want? I support the girls no longer need to play the innocent role, downgrade themselves only to win the love of men, like Bridget Jones _ sincere to herself without felt afraid of failure.

The final conclusion is a declaration and sincere invitation from me the creator of “You aren’t my destiny”. I used the work, which began from a small starting of my own self to my experience of self-evolution to share with and invite others, helping one day, the society I belong in can give the respect to everyone, and let them find the freedom in their souls through the acceptance and understanding of their own selves. Although I knew it’s hard to make huge differences only through the work and the thesis, still I want to speak for those
“bad girls” who do not meet social expectations and values in all countries. Praised for their courage to truly love and hate, sincerity, goodness, and not yield to the stereotyped social framework.

並列關鍵字

Bad girl ； Marriage ； Flapper ； Single girl ； Feminism ； Fabricated to be Photography ； Self-portraits

參考文獻

Jennifer Baumgardner＆Amy Richards. Manifesta: Young Women, Feminism, and the Future. (2000).

Peter Turner. History of Photography. (New York: Bison Books, 1987).

林芳玫（1994）。《觀眾研究初探：由梅花三弄談文本、解讀策略、與大眾文化意識形態》。新聞學研究49集。

吳佳蓉（2013）。《新女性圖像—Hannah Höch 威瑪共和初期之攝影蒙太奇研究》。議藝份子第二十一期。

吳家瑀（2010）。《日常與陌生的交替—Philip-Lorca diCorcia 的攝影初探》。議藝份子第十四期。