|摘要: ||攝影家莎莉・曼恩（Sally Mann, 1951-）長年在美國南方家鄉進行創作，創作主題多元，涵蓋靜物、肖像與風景等。早年以家庭肖像攝影打響名聲，1990年後半，始轉移鏡頭焦點。2005年出版的《深南方》（Deep South）攝影集集結了曼恩近10年的風景作品，包含三系列曾個別展出的風景作品，1996年的《母土》、1998年的《深南方》，以及2003年的《最終措施》。乍看之下，這三系列作品皆為朦朧恍惚的黑白照片，呈顯了十九世紀老照片般的氛圍。實際上，這三系列作品映照了攝影家不同階段的風格美學，並投射了不同的南方故事。|
;The photographer Sally Mann (1951-) has been working in her Southern hometown for a long time, producing various types of works, such as still life, portrait, and landscape. She established her reputation in her early period by family portraits, and she shifted the focus of her photography in the late 1990s. Published in 2005, Deep South is a photographic collection with almost 10 years of landscape works, which includes Mother Land (1996), Deep South (1998), and Last Measure (2003). In a glimpse, these three series are all blurred black-and-white photographs, evoking an archaic atmosphere of 19th-century photography. To discuss them further, these three series actually reflect different styles and aesthetics in the photographer’s career stages, probing into layers of Southern stories.
In this thesis, through an analysis of styles and Southern photographic context, I will discuss the complex relationship between photographs and texts in Deep South. The first chapter begins with the formation of Mann’s styles and techniques, tracing back how Mann gradually turned to 19th century’s photography techniques in these landscape series. Furthermore, I will discuss the revival of old-fashioned style trends similar to Deep South, such as Pictorialism in the late 19th century, and the contemporary antiquarian photographers. In the second chapter, in order to discuss the Southern spirit in Deep South, I will compare Southern photographers’ works with Deep South, and the Southerner writers’ poetry which was written in accordance with Mann’s landscape photographs. Through the photographic collection Deep South and the memoir Hold Still, Mann successfully interweaved the regional stories and her personal family memories in Deep South, creating contemporary Southern landscape myths. The third chapter mainly focuses on the Southern myths lying behind landscapes in Deep South, which was written and being interpreted continuously for over 20 years since it was published. Southern stories and Mann’s memoir Hold Still are the primary references in this study, in order to unveil layers of meanings in Mann’s landscape photographs.