English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 113311/144292 (79%)
Visitors : 50936255      Online Users : 968
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
    •  Adv. Search
    Home ‧ Login ‧ Upload ‧ Help ‧ About ‧ Administer Goto mobile version


    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/57124


    Title: 實證主義紀實攝影與意義建構的去/脈絡化：兩個案例分析
    Constructing Meaning through De-/Contextualisation in Realist Documentary Photography: An Analysis of Two Cases in 1980s Taiwan
    Authors: 郭力昕
    Kuo, Li-Hsin
    Contributors: 政大廣電系
    Keywords: 寫實主義攝影;社會紀實攝影;實證主義;去/脈絡化;攝影話語;集體感性;理性主義
    realist photography;social documentary photography;positivism;de-/contextualisation;photographic discourse;collective emotionalism;rationalism
    Date: 2008-06
    Issue Date: 2013-03-11 09:33:24 (UTC+8)
    Abstract: 在1980年代後期盛行於台灣的紀實攝影，是以西方寫實主義攝影的理念與實踐，做為影像介入政治社會的参考依據；而西方紀實攝影的理念基礎，則是建立在西方實證主義認識論應用於攝影上的一些主張。以見證的概念來紀錄社會的攝影實踐宣稱，「真實」可如是被再現，意義也從中準確產生。本文透過封《人間》雜誌「返鄉」專輯與《給台潜一個機會》這兩組紀實攝影作品的批判性分析，提出兩個論點：一、纪實攝影作品的意義建構，並非僅决定於影像文本，而常常是經由脈絡化或去脈絡化特定之攝影文本的效果而產生。二、1930年代普遍實踐於西方的紀實攝影，和1980年代的台灣纪實攝影，在社會與文化脈絡上大有差别；前者以理性／客觀主義等概念為基礎，試圖透過紀實攝影維護既有的政治社會結構，後者則以見證式的紀實攝影，召喚人民對當政者的憤怒情緒，試圖的破原有的秩序與結構。
    Social documentary photography has been enthusiastically prasticed in the second half of 1980s Taiwan, which is largely based on the notion and practice of Western realist photography as a way to engage in politics and society. And, propositions of social documentary photography are rooted in Western positivist epistemology, which claims that `reality` can be represented by photography`s witnessing functions, and meaning thus produced. This paper examines two sets of photographic works from Ren Jian magazine and Give Taiwan a Chance, and argues that photographic meaning and political discourses are substantially constructed by contextualising the images in one case, and by de-contextualising it in the other. Further, the paper speculates on contextual differences in culture and society as seen in social documentary practices between the 1930s West and the 1980s Taiwan. While the former applies documentary photography in a rational, detached way to stabilise socio-political status quo, the latter uses it to summon a collective emotion against the state.
    Relation: 台灣社會研究季刊, 70, 1-32
    Data Type: article
    Appears in Collections:[廣播電視學系] 期刊論文

    Files in This Item:

    File Description SizeFormat
    index.html0KbHTML21176View/Open


    View Licence

    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback