當代台灣的LOMO攝影：自我與真實性文化

Lomography in Contemporary Taiwan: Self and Culture of Authenticity

陳安弦(An-Hsien Chen)

指導教授 ： 司黛蕊

國立臺灣大學/文學院/人類學研究所/碩士(2014年)

https://doi.org/10.6342/NTU.2014.10413

摘要

LOMO攝影於1991年發跡於奧地利，以簡單的操作、艷麗的色彩、多變而難以預期的攝影後果、以及新穎的核心精神，在攝影機具市場上脫穎而出，形成獨特的現象。在台灣，LOMO攝影則於2005年前後逐漸為人所知，其鮮明的攝影風格被運用於音樂MV、時尚廣告、圖文書與各式雜誌，而後並與文青商潮合流，成為一文化符碼，深深滲入台灣的流行文化之中。
過去對台灣LOMO攝影之研究，通常視LOMO相機�攝影作為商品與強勢的符碼生產方，並著眼於攝影者如何受這種商業的LOMO攝影影響，而未呈現台灣LOMO攝影本身的特性，本研究則意欲透過針對攝影者的深度訪談與文本分析，對業已在地化的台灣LOMO攝影進行爬梳。
台灣LOMO攝影的色彩較為清淡，對自我的表現迂迴內斂，通常以旅行、對青春或兒時記憶的懷想、與恬淡的生活情趣為主題，詮釋影像時，習於使用故事性概念與詩化語言，強調攝影者個人作為獨特存在的主觀觀點與感受。
更進一步來說，在LOMO攝影實踐中，攝影者是在建構起對理想自我狀態──真實性(authenticity)──的想像，這一想像以主張真實性、經驗與自我彼此先驗性證成的「存在主義式的真實性」為主體，促使LOMO攝影者在社會位置未定調的焦慮下，轉向內部無限的自我探索，或尋求日常生活中瑣碎的自我成就。相較於委身於限制眾多的現實社會，這些內部對話似乎顯得更真實，更「屬於自己」。

關鍵字

LOMO攝影 ； 真實性 ； 自我 ； 旅行

並列摘要

LOMO photography, or lomography, first gained prominence in 1991 in Austria. LOMO’s user friendliness, remarkable colors, and unpredictable photographic effects, made it a standout on the camera market. In Taiwan, LOMO slowly entered into the public consciousness around 2005 when the eye-catching photography started cropping up in music videos, fashion advertisements, MOOKs, and numerous magazines. The trend first caught on with the underground and shortly thereafter infiltrated the mainstream. LOMO became something of a cultural code and, eventually, a part of Taiwanese pop culture at large.
Prior research in Taiwan looks at the branding and production side of LOMO cameras/lomography, focusing on how LOMO is received by photographers from a code producer perspective without considering the nature of Taiwan lomography itself. This study thus aims to analyze localized lomography in Taiwan through textual analysis and in-depth interviews of LOMO users.
Lomography in Taiwan is characterized by softer colors and understated, inward-looking modes of self-expression; subject matter themes include travel, retrospection of youth and childhood, and daily life. Picture annotations tend to be poetic and narrative in nature, emphasizing the photographer’s personal existence through experience and subjective viewpoints.
Further, when taking pictures, lomographers construct a concept of their ideal selves, one that is based on an “existential authenticity” as justified by perceived “I am what I experienced as who I am”. Given this context, Lomographers become uncertain of their social status and thus introspect on their daily lives, and engage in internal dialogue. In so doing they gain a sense of freedom, realness, and “belonging” that cannot be found in broader society.

並列關鍵字

Lomography ； authenticity ； self ； travel

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Badger, G