戲仿‧更新再造—李元弘東方媒材創作論述

在二十一世紀，通俗文化是青年間彼此的溝通橋樑之一。本文通過對當代社會場域觀察，理解文化工業發展下的藝術現象，討論後現代戲仿(parody)，藉由現代都市人背後的精神問題發展自身對於戲仿以及場域的關注點、解釋。透過戲仿、次文化的卡漫、文化工業方興未艾的發展，來作為筆者創作的理念及實踐。第一章透過方法與內容的解釋與了解，來確定此次探索的目標、理念，藉此發展創作實踐。第二章首先探討在當代社會場域中，人們精神上的癥結背景，從當代文化工業中的權力互動到意識形態，試圖理解普遍存在的異質共構背後所產生的因素，藉由這些文化背後形成的原因，來觀看複製時代下的戲仿，進而探討戲仿的表現觀點以及在戲仿中的更新再造背後的擬像。第三章則是透過對戲仿的時代爬梳來做為自身創作的理念的依據，其中表達華人文化特有的「氣」與個人創作時的身體感覺。另外藉由對於戲仿表現來思考創作方法上的畫面營造。在思考東方韻味與戲仿時，發現戲仿表達在東方媒材上的缺失，進而拓展媒材上的實驗、實踐。最後透過第四章作品實踐來檢視自身思考的脈絡，以及第五章作為此次研究的一個回顧與對未來創作的思考展望。關鍵字:文化工業挪用拼貼水墨創作戲仿

關鍵字

文化工業；挪用；拼貼；戲仿；水墨創作

並列摘要

In the 21st century, popular culture is one of the communication bridges between young people. Through the observation of the contemporary social field, this article understands the artistic phenomenon under the development of the cultural industry, discusses the post- modern parody, and develops its own focus and interpretation of parody and field through the spiritual problems behind modern urbanites. Through parody, sub-cultural cartoons, and the burgeoning development of the cultural industry, the author's creative ideas and practices are used. The first chapter determines the goal and concept of this exploration through the explanation and understanding of the method and content, so as to develop the creative practice. The second chapter first discusses the crux of people's spiritual background in the contemporary social field, from the interaction of power in the contemporary cultural industry to ideology, trying to understand the factors behind the ubiquitous heterogeneous co- construction. The reasons for its formation, come to watch the parody in the era of reproduction, and then explore the expression of parody and the simulacrum behind the renewal and reconstruction of parody. The third chapter uses the era of parody as the basis for the concept of his own creation, which expresses the unique "qi" of Chinese culture and the physical feeling of personal creation. In addition, the image creation in terms of creative methods is considered through the expression of parody. When thinking about the oriental charm and parody, I found the lack of parody expression in the oriental media, and then expanded the experiment and practice on the media. Finally, I examine the context of my own thinking through the practice of the fourth chapter, and the fifth chapter serves as a review of this research and a reflection on future creations. Key words: Cultural Industry appropriation Collage Ink Creation Parody