| 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。
本文將以風格與南方攝影脈絡切入探討《深南方》攝影集，並探討《深南方》照片呈顯的多層次圖文關係。第一章將爬梳曼恩的技法與風格養成，並深入考察《深南方》攝影集三系列作品的技法遞變，探討曼恩如何在《母土》、《深南方》與《最終措施》的創作過程中，逐步重拾十九世紀攝影術。除此之外，也將回溯與《深南方》對話的老攝影風格，包括十九世紀末興起的畫意攝影，以及重拾古法的當代攝影師。第二章將以南方藝文脈絡作為主要論述依循，由攝影、藝術與詩歌等層面探討《深南方》在南方藝文圈中的承襲與創新。第三章將探討《深南方》攝影集出版至今，在這逾二十年的時間中，如何將不同層次的詮釋管道，吸納為南方風景神話。主要以南方故事以及《靜止不動》回憶錄作為論述脈絡，檢視曼恩如何揉合地方歷史與私密的家族回憶在風景照片之中，藉此考察《深南方》中蘊藏的南方故事，以及照片與文字之間的不同層次詮釋。
;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. |
