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  • 學位論文

超現實與蓋.伯丁「黑色時尚」攝影研究暨鏡像攝影創作

A Study on Surreal Photography and Guy Bourdin’s “Fashion Noir”(Black Fashion) Photography, with the Mirror-Photo-graph Creation

指導教授 : 王雅倫

摘要


本論文研究主要乃興起於「何謂真實」此一問題之興趣以及對攝影之愛好,從而投入對超現實攝影之研究。在西方藝術學界,羅莎琳.克勞斯對於超現實主義攝影(Surrealism photography)研究之重要性乃為眾人所知,因此,本論文便以克勞斯之論述為主軸貫穿論文整體以對超現實主義進行深入研究。此外,從歷史文獻中可知超現實主義者們的攝影從精神分析獲得許多創作靈感,故擬協以素有「回歸佛洛伊德」(Return to Freud)為名之拉岡精神分析輔助研究超現實攝影,並在第二章以與超現實主義攝影密切相關的佛洛伊德(Sigmund Freud)詭態(the Uncanny)理論為切入點,並深入至拉岡鏡像期(Mirror Phase)、凝視(Gaze)等理論以對詭態作更進一步之文獻探討。第三章便以克勞斯之研究論述切入對超現實主義攝影之研究,在了解其攝影之特殊表記「間隔」與「雙重」之運作以及該攝影之結(解)構後,再分別深入至超現實主義時期之兩位重要領導者-布列東(André Breton)與巴岱(George Bataille),並以布列東的痙攣之美(Convulsive Beauty)與巴岱的不定形(Informe)為主軸,討論兩人思想對超現實主義攝影之影響。第四章則以法國時尚攝影師蓋.伯丁之「黑色時尚」(Fashion noir)攝影作品為討論基礎,除了介紹蓋.伯丁之崛起背景與攝影歷程之外,更企圖以克勞斯對超現實主義攝影評論中所述之「間隔」與「雙重」、巴岱的「不定形」、以及拉岡精神分析等多重角度分析蓋.伯丁作品,發現蓋.伯丁之編導攝影的確具有超現實風格,並且蘊含著不定形元素,諸如死亡、黑色幽默、身體扭曲等手法,揭露出亮麗的時尚攝影戀物層面之後的匱乏-拉岡所言的小對形a(objet petit a)面向。最後綜合前述章節中的理論與心得作為主要思考基礎,並以拉岡所言之鏡像期理論、凝視點中之寶石模糊性-agalma為啟發,進行一系列個人攝影創作。

並列摘要


The dissertation, motivated from the enquiry of “what is the real” and personal interests in photography, focuses on the study of surreal photography. Thus, this dissertation aims at investigating and analyzing the Surrealism photography with Rosalind Krauss’ discourse. Widely known in Western Art theory for her study on Surrealism photography, Krauss’s theory serves as the primary theoretical basis of this dissertation. Furthermore, in regarding to the fact that Surrealists’ photography were frequently inspired and deeply influenced by the theory of psychoanalysis, this dissertation also introduces the theory of Jacques Lacan, with his sonorous call to “return to Freud”, to assist the study of surreal photography. Chapter two starts with Sigmund Freud’s article “the Uncanny” related to Surrealism photography, and applies Lacan’s “Mirror Phase” and “Gaze” theory to explore the core of the Uncanny furthermore. In chapter three, the dissertation explores surreal photography with Krauss’ discourse about the operation of specific signifiers- space and double - and the con-/de-struction in photography. The discussion then focuses on two major theorists in Surrealists’ period, André Breton and George Bataille, and applies Breton’s “Convulsive Beauty” and Bataille’s Informe for explicating their influences on Surrealism Photography. Chapter four concentrates on French photographer Guy Bourdin’s collection of photography known as the representative of “fashion noir ”. Bourdin’s background and experience is firstly introduced, and then his works analyzed in multiple methods, such as Krauss’ signifiers space and double, Bataille’s informe, and Lacan’s theory aforementioned. According to these theories, Bourdin’s staged photography indeed contains surreal style, and uses elements of informe, such as death, black humor, and distortion of body, to disclose the Lacanian lack –the objet petit a—behind the fetish and brightness of fashion photography. In the conclusion, the dissertation re-contemplates the theoretical discussions in aforementioned chapters. With the theoretical part as background, a series of personal photography will be created through the inspiration of Lacan’s mirror phase and algama—the ambiguity of jewel participated by the point of gaze.

參考文獻


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[14]Breton, André (1928). Howard, Richard trans. (1960). Nadja. USA: Grove Press.
[41]Mitchell, William J. (1994). Mirzoeff, Nicholas eds. (1999). The Age of Photography, in An introduction to visual culture. London: Routledge.
[29]Freud, Sigmund(1930). Strachey, James trans & eds.(1962). Civilization and Its Discontents. New York: W. W. Norton & Company Inc..
[36]Lacan, Jacques (The Seminar of Jacques Lacan Ⅱ, 1954-55, S2). Sylvana Tomaselli trans. (1988). The ego in Freud’s theory and in the technique of psychoanalysis. Cambridge: Cambridge UP.

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