理想與現實之間的擺盪：臺灣早期報導攝影家王信

王信（1942-）是臺灣報導攝影的先驅。當沙龍攝影仍主導臺灣攝影界時，她已深入偏鄉部落，拍攝原住民的文化與生活。然而，自一九九四年「另一種存在」展覽後，她淡出攝影界，鮮少參與活動。此外，她只出版《蘭嶼．再見》一本攝影集。這使她成為一位謎樣人物，更增加研究她的難度。　　二〇一六年，臺北市立美術館舉辦「另一種目線——王信攝影展」，回顧她的攝影生涯。這場展覽讓我們能跳脫個別作品的分析，嘗試探索王信攝影藝術的核心精神。本論文藉由這個寶貴契機，輔以第一手訪談資料，深入研究這位略帶神秘色彩的攝影家。　　本論文的架構如下。第一章概述戰後至解嚴前後臺灣攝影的發展，勾勒王信所處的時代脈絡。第二章追溯她留學日本並決定投入報導攝影的過程。第三章詳述她自日本返臺後的攝影活動。第四章則分析她的報導攝影作品——《蘭嶼．再見》與《澎湖風土記》。

關鍵字

王信；報導攝影；沙龍攝影；《蘭嶼．再見》；《澎湖風土記》

並列摘要

Wang Hsin (1942-) was the pioneer of documentary photography in Taiwan. While pictorial photography was dominating Taiwanese photography, Wang already travelled to the remote mountain villages and photographed the indigenous peoples. However, after the exhibition Another Kind of Existence in 1994, Wang retired and seldom appeared in public. In addition, Wang only published one photo-essay, Farewell, Orchid Island. This makes her enigmatic and makes it difficult to research her. 　　 In 2016, Taipei Fine Arts Museum held the exhibition Line-of-Vision: The Photography of Wang Hsin, looking back at Wang’s life and career. This exhibition enables us to transcend the analysis of individual works and explore the essence of Wang’s art. Availing myself of this opportunity, I use firsthand information from interviews to study this somewhat mysterious photographer. 　　This thesis proceeds as follows. Putting Wang’s work into context, chapter one overviews the history of Taiwanese photography from early 1950s to late 1980s. Chapter two traces the process through which Wang studied in Japan and decided to engage in documentary photography. Chapter three details Wang’s activities after coming back to Taiwan from Japan. Chapter four analyzes her photo-essays: Farewell, Orchid Island and The Folklife of Penghu.