人道主義攝影的感性化與政治化：閱讀1980年代關於蘭嶼的兩部紀實攝影經典

1980年代是台灣紀實攝影實踐的高峰，其中一個主要的題材與創作取徑，是針對台灣原住民的人道主義攝影。本文批判地閱讀兩部以達悟族人為對象的紀實作品《蘭嶼•再見》和《尊嚴與屈辱：國境邊陲•蘭嶼》，並檢視以攝影凝視他者時的感性訴求與將議題政治化的相關問題。透過對這兩部具有經典意義之作品的文本分析，本文指出：王信的《蘭嶼•再見》以感性的、人道關懷式的角度，進行對達悟族人及其文化的凝視、欣賞與「同情」，其中並無具體議題；而關曉榮在《尊嚴與屈辱》裡，則同時以蘭嶼反核運動的介入者和抽離的紀錄者雙重身分，面對達悟族人的各種議題，使其作品產生了相當的政治意義。在分析案例援引西方攝影論述時，本文同時檢視西方論述（例如蘇珊•桑塔格對攝影的評論）放在台灣實踐脈絡裡的適用性問題，並試圖提出「人道主義攝影」這個概念，在西方文化與台灣實踐之間的意義落差。

關鍵字

人道主義攝影；關懷式的凝視；感性化；政治化；個人性；原住民；漢人

並列摘要

Humanist photography on indigenous Taiwanese is one of the major subjects as well as approaches in the practice of Taiwanese documentary photography, when it reaches a peak moment in the 1980s. This paper offers a critical reading of Wang Xin's Lanyu, Goodbye and Guan Xiao-Rong's Dignity and Humiliation, two representative works published/produced in 1980s Taiwan on the Tao people in Lanyu. Through these two case studies, I contend that, while Wang's work provides no real issues but sentimental gazes with ”compassion” in her photo project, Guan's documentary work politicizes various social/cultural problems, which makes the latter politically significant. I also attempt to re-assess the feasibility of applying Western critical theories to local texts, as exemplified in my borrowing and criticizing some of Susan Sontag's writings on humanist photography. And, I suggest at the end of this paper that there are substantial differences towards the notion of ”humanist photography” between Taiwanese practices and those in the West, which need further and more extensive studies.