現實與擺拍之間的攝影敘事

2011年6月，我受邀參加《藝術在風左右》種子計劃。總計六位來自國內外的藝術工作者，預期要與台北市天母地方一塊都更預定地，之中及週邊環境的人、事與物互動，並據此創作作品。由於自己居住的地緣關係，有一陣子經常造訪這個許多人認為是清幽宜居的地段。我之前常想：都是那些人住在這些地段屋價頗高的房子裡？他們家裡的擺飾裝潢如何？他們在家都做些什麼事兒？會有什麼樣的故事在他們家裡發生？我因而發想出〈尋常人家〉攝影計劃。其實在歐美，也包含日韓的藝術攝影脈絡之中，一直存在著居家生活的題材。但回看台灣，卻鮮少有攝影工作者，比較正式地處理在地居家生活的這個面向。我於是藉著這個機會，把構思已久的〈尋常人家〉攝影計劃付諸實現。本論述分為四章：首先試圖釐清「居家」一詞的具體意義及社會意涵，並就居家攝影的脈絡，進行系譜式的探究。第二章將〈尋常人家〉定位為「擺拍紀錄」，討論在偷拍、抓拍、擺拍和編導攝影等不同的實踐中，拍攝者和被攝者相異的關係，和可能觸及的現實與真實的議題。第三章討論〈尋常人家〉所採用攝影多屏連作的形式，在空間性和時間性的面向所開展的意義。第四章則著重於思索計劃後續的拍攝，可以朝我在之前的攝影計劃中，運用的「重演」策略，尋求超越一成不變、百無聊賴的「日常生活」的可能性。

關鍵字

居家；擺拍記錄；多屏連作；重演

並列摘要

I was invited to participate in the curatorial project of “Art with Wind” on June, 2011. Six artists, foreign and local, were expected to make art in accordance with interaction of some people live in a small urban renewal site located in Tienmu, Taipei City. It was a quiet and peaceful area I visited from time to time. I was thinking that who were the people living in the buildings with high price? How did they decorate their home? What did they do in their houses? Was there any story going on? I then conceived the project of “Ordinary Household”. Simultaneously, I was wondering it is hardly to find Taiwanese photographers dealing with such domestic subject matter while it was quite common in photography history. I then decided to make the photographic project of “Ordinary household”. There are four chapters in my thesis: Firstly, I want to formulate the specific and social meaning of the term of “domestic”, and to launch a study of compendious Genealogy toward domestic photography. I then orientate the project of “Ordinary household” as “posed document” and discuss the relations between photographers and sitters and issues between reality and truth by discussing different photographic practices ranging from “sneaked”, “snapshotted”, “posed” and “staged” photography in the second chapter. The gist of the third chapter is to probe the meaning of time and space in multi-frame photography which consist the main visual form of “Ordinary Household” project. Last but not least, I intend to clarify the possibility to transcend immutable and listless “everydayness” through the strategy of “reenactment” which I have applied since my previous project of “Circumgyration”.

並列關鍵字

domestic ； posed document ； multiple frame ； reenactment

參考文獻

劉紀蕙編，《文化的視覺系統Ⅱ—日常生活與大眾文化》，台北：麥田出版，2006

吳家瑀，《光照之域：Philip-Lorca diCoecia的編導攝影研究》，國立中央大學藝術學研究所碩士論文，中華民國一百零一年六月

陳瑾瑜，《英國Battle遺產觀光符號的建構與展演》，國立台灣師範大學國際與僑教學院洲文化與觀光研究碩士論文。中華民國一百年八月

Nixon, Nicholas, “Family Pictures – Photographs by Nicholas Nixon”, Washington and London, Smithsonian Institution Press, 1991

Highmore, Ben著，周群英譯；《分析日常生活與分化理論》，台北：韋伯文化，2009

國際替代計量

現實與擺拍之間的攝影敘事

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