攝影鏡頭下的靈光：近代台灣攝影中世紀容顏之研究

The Aura of Photography: A Discussion of The Centry's Face in Taiwan Modern Photography.

游雅雯(Ya-Wen Yu)

指導教授 ： 陳其澎

中原大學/設計學院/室內設計學系/碩士(2008年)

https://doi.org/10.6840/cycu200900443

摘要

本研究涉及攝影、空間、感知體現等層面，透過德國華特‧班雅明（Walter Benjamin）於西元1839年攝影術發明後所提出的「靈光消逝（La perte de L’aura）」理論，並結合羅蘭‧巴特（Roland Barthes）等人關於攝影、影像之論述，統整及運用「現代靈光」的特質與概念，做為分析影像文本之依據。從班雅明對現代性（Modernity）的詮釋：「拱廊街（Arcades或Passagen）」的凝視（gaze）想像、波特萊爾（Charles Pierre Baudelaire）「漫遊者（Flâneur）」的身影，遊蕩攝影的體驗與創造，充滿寓意及隱喻的意象投射在攝影者對城市踰越的情感與觀察。先後了解攝影靈光的概念與現代性的觀看態度，回溯至一九三○到五○年代，以張才、鄧南光等人的攝影作品做為研究文本，發展出「光影下的漫遊者城市經驗」、「時代觸覺」、「文化混雜的轉角」、「流變不居的視點」、「通透蛻變的女性身體意象」、「似曾相似的靈光記憶」等主題，試圖探討世紀容顏下的台灣靈光。在數位科技泛濫導致靈光早已不見蹤跡的現在，藉由影像作品中懷舊的深層情感，將時空背景帶往二十世紀初的台灣，從都市街道上的凝視與創造，反抗與平實，窺探漫遊者眼中的慾望世界。而本研究所談及的現代性，在靈光顯現的所在落腳，賦予個體生動的視線，從城市當中擷取生命的能量，從時空之流裡換取光的切片，在班雅明仍在世的年代，從遙遠的東方而來，證明台灣散發的攝影靈光已然而生。

關鍵字

靈光 ； 感知 ； 攝影 ； 空間

並列摘要

The study ranges over some aspects of photography, space and perception embodiment. Through the theory of “La perte de L’aura” proposed by Walter Benjamin in 1839 after photography was invented, it is also integrated with some discussion about photography and images proposed by Roland Barthes and the others. The text is also compiled and adopted with the attributes and conceptions of modern aura as a basis for analysis of images in this article. From Benjamin's interpretation to modernity, the roaming experience and creation of gaze imagination of Arcades or Passagen, the silhouette of Flâneur made by Charles Pierre Baudelaire, the implication is exactly full of meanings and metaphors projected onto photographers' emotion and observation transcending over the cities. It has to understand the conception of photographic aura and attitude to modernity one after another. And then it would be traced back to 1930s' to 1950s'. The study is based on the photograph works created by Jhang Tsai and Deng, Nan-Guang to develop some subjects as “Flâneur's city experience under light and shadow”, “The time tactile”, “The corner of interweaving culture”, “The vision of mobility”, “Female body image of permeating transmutability” and “Similar aura memory”. It is intended to delve into the aura in Taiwan behind the century facial appearances. When the aura is no more existent due to predominance of digital technology, through the deep emotional nostalgia from image works, the background is moved back to the earlier 20th century in Taiwan. From gaze and creation, resistance and plainness on urban streets, the desire of the world in Flâneur's eyes can be seen. The modernity mentioned in this study embodies individuality with vivid vision on the corners with aura shown. From the city captured the energy of life, the flow of space and time, to exchange for slices of light. During the period of Benjamin, originating from the remote orient, it would be well proved that the diffusion of photographic aura from Taiwan.

並列關鍵字

Photography ； Space ； Perception ； Aura

參考文獻

（2002）蘇珊‧桑塔格文選（黃燦然等譯）。台北：一方。

張小虹（2007）。現代性的曲線。中外文學，36，171-200。

許綺玲（1998a）。「事後靜下來，不由自主悟得一引向盲域的局部細節？」：談《明室》「刺點」的幾個定義矛盾。中外文學，27（4），94-122。

鄭淳恭（1992）。與數位藝術和解：論影像複製與美術之相生共和。造形藝術學刊，335-347。

Thrift, N.（1996）. "Inhuman geographies: Landscapes of speed, light and power," in Spatial Formations (pp. 256-310). London: Sage.