博碩士論文 971206001 詳細資訊




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姓名 吳家瑀(Chia-yu Wu)  查詢紙本館藏   畢業系所 藝術學研究所
論文名稱 光照之域:Philip-Lorca diCorcia的編導攝影研究
(The Illuminated Field: A Study on Philip-Lorca diCorcia’s Staged Photography)
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摘要(中) 美國藝術家Philip-Lorca diCorcia(1951-)的攝影作品,向來予人一種猶似隱含寓意或曖昧敘事的觀覽印象。他以濃郁飽和的亮麗色彩,細節清晰分明的形式描述生活即景,取材界域從1980年代末發生於家屋室內的人物起居,逐步在1990年代初移往都會街景和行人。跨足在藝術和商業攝影領域之間的diCorcia,最常涉獵家庭快照、肖像與街拍,但這些攝影類型經過他的混成,有時彼此的界限並不那麼分明。本篇論文以「編導攝影」作為題名,聚焦於diCorcia的《好萊塢系列》(1990-1992)、《街拍系列》(1993-1999)和《頭像系列》(1999-2001),其實踐路徑與直接攝影有別,皆為操作和布署的結果。儘管介入的程度不一,但diCorcia貫徹他獨具個人特色的人工光源運用,使不論是如電影預先建構的導演模式拍攝,或是城市即景的瞬時快拍,都渲染上一層戲劇化的攝影棚肖像質感,橫陳在追求自然主義的決定性瞬間與矯飾做作的時尚編導之間,因此張弛著動搖觀看慣習的力量。本論文欲探究這運作矛盾視覺修辭和類型影像性交混的視象。筆者認為,這樣的視象,即為diCorcia綿密編織可見性和可述性的「光照之域」,他跨域引用電影的媒體性,演示時尚攝影語法和變造街頭攝影類型傳統,操作出看似汲取日常又散發陌異的畫面。作者便兀立在這現實與位移了的文本現實之間形成的裂口,向觀者傾吐他關照的美國社會與文化現況。有關diCorcia的評論和報導,多見於藝術期刊、攝影技術專業和時尚雜誌,而學術研究則零星散見於聯展圖錄的專文,多半聚焦在他的街頭攝影作品如何複訪傳統街拍,對既定規約有所轉譯,以及光線的操作技術和象徵性。這些文獻是協助本文勾勒和了解diCorcia的影像特徵的重要基礎,但也激發筆者追問那些未被深究的部分。
本文第一章回溯了diCorcia的攝影風格養成背景,歷時性地簡述他的創作歷程,並藉由整理相關訪談文稿,企圖讓diCorcia的攝影核心命題及觀念更顯立體。第二章仔細爬梳了diCorcia極富敘事性的劇畫攝影《好萊塢系列》,其打光法建構強烈的電影感,嵌結好萊塢電影工業的明星打造制度,指涉媒體形塑男同性戀形象的議題。第三章指出《街拍系列》改變Henri Cartier-Bresson至Garry Winogrand的街拍正典,引發觀者了悟眼見並非真誠,但同時又接受其基本為真的「雙重自覺」,將識讀影像本身空間的途徑,導向Edward Soja的「第三空間」認識論。第四章討論拍攝於紐約時代廣場的《頭像系列》,依循Walker Evans在地鐵車廂內鬼祟偷拍的窺密攝影脈絡,極端借助閃光迸發造成的明暗對照效果,構成隱喻監視視線潛伏遍在於美國大城的電子監視儀材幽閉黑盒意象,囚禁和規訓不安的美國集體。
摘要(英) American artist Philip-Lorca diCorcia’s images always give one the impression that there seems to be many layers of meanings or ambiguous narratives in them. He described scenes of everyday life with saturated colors and clear details, drew material from people’s domestic life at the end of 1980s, then at the beginning of the 1990s, he went outdoors to capture the city scenes and strangers on the street. Crossing the border between art photography and commercial photography, diCorcia is frequently engaged in family snapshot, portraiture and street photography. But the boundaries between these genres sometimes are not entirely definite through his hybrid composition. I uses the term, ‘staged photography,’ as the topic of this thesis to characterize the series “Hollywood” (1990-1992), “Streetwork” (1993-1999), and “Heads” (1999-2001) which differ from straight photography and are practiced with manipulation and staging. Despite diCocia created them with varying degrees of mediation, he implemented the individualized use of artificial light source all the way through, either by directional mode and cinematic preconception or by taking snapshots of citiscapes, are produced the effect of dramatic studio portraits. Thus the images span the gap between the naturalistic decisive moment and manneristic fashion photography, and attempt to shake the spectator’s habitus of looking. Therefore, the thesis aims to discuss the vision created by ambiguous visual rhetoric and hybrid imageries of different genres. In my opinion, such a vision is ‘the illuminated field’ that diCorcia interweaves visibility and discursivity. He crossed the multiple domains to quote the mediality of film, to demonstrate grammars of commercial photography and to alter the tradition of street photography, creating the appearance of the familiar yet uncanny daily life. This suggested that the artist utilizes the schism between the reality and the text to express his concern about the conditions of contemporary American society and culture. The majority of art criticism and reports on diCorcia can be found in art periodicals, photography and fashion magazines, and the scholarly essays are scattered in the catalogues of exhibitions. The literature mainly focuses on how diCorcia revisited the tradition of street snapshots, translated its established convention, and on his skills of using flash devices and symbolism of light. All this literature is an important basis for me to understand the characteristics of diCorcia’s oeuvre but it also inspires me to probe into those unexplored problems.
In the first chapter, I trace diCorcia’s background and the formation of his style, summarize the chronological course of his creation, and highlight the core motifs and foundational ideas of diCorcia’s works by an analysis of his interviews. In the second chapter, based on the series of tableau photography “Hollywood,” I deeply explore how its strong cinematic look created by lighting, articulates the star system in the film industry and discuss how the mass media shapes the figure of male homosexual. In the third chapter, I point out that with the series “Streetwork,” diCorcia varies the canon of street photography from Henri Cartier-Bresson to Garry Winogrand, and brings about a “double consciousness”, which allows the viewer to understand the scene as inauthentic yet at the same time to accept it as fundamentally real nevertheless. In this way, the path of understanding the space of the image itself is directed to Edward Soja’s epistemology of ‘Thirdspace’. In the fourth chapter, I discuss the series “Heads” photographed at the Times Square in New York. diCorcia followed the lineage of surreptitious photography, exemplified by Walker Evans’s subway photographs. With the radical use of the strobe light, diCorcia created a strong chiaroscuro effect which may serve as a metaphor of the scopic surveillance lurking everywhere in America’s big cities. In the dark box, the nervy American collective seem to be in prison and discipline themselves.
關鍵字(中) ★ 光線
★ 編導
★ Philip-Lorca diCorcia
★ 電影感
★ 雙重自覺
★ 街頭快照
★ 劇畫
★ 監視
關鍵字(英) ★ Philip-Lorca diCorcia
★ street snapshot
★ cinematic
★ light
★ tableau photography
★ staged photography
★ surveillance
★ double consciousness
論文目次 緒論 1
研究背景 1
研究動機與問題意識 3
文獻回顧 10
章節架構 18
第一章 Philip-Lorca-diCorcia的混種視象之形成 21
第一節 攝影家的攝影風格養成與創作歷程 21
第二節 系列創作簡述 27
第三節 diCorcia的攝影觀與相應形式 31
一、作者性 31
二、形式的詩性與意義浮動 34
三、diCorcia對傳媒遍在的社會之思 39
小結 42
第二章 《好萊塢系列》的電影感及其延伸意涵 43
第一節 當代劇畫攝影與《好萊塢系列》 44
第二節 場面調度中引導敘事的光線:兼談攝影與電影的關係 47
第三節 慾望客體的扮演:一種物化與後現代冷漠的體現 52
小結 63
第三章 《街拍系列》的都會再現、經驗與空間意象 64
第一節 《街拍系列》與街拍正典的連結:從題材與形式美學談起 65
第二節 diCorcia的街頭攝影複訪與變異 73
第三節 第三空間下的都會觀測:《街拍系列》裡的消費意象 81
一、雙重幻覺與第三空間 81
二、變動中的城市空間;消費與慾望的版築之地 83
小結 91
第四章 《頭像系列》之臉:私密、面具與監視的圖像 92
第一節 空間的公與私辯證:從diCorcia的訴訟官司談起 93
第二節 正面之「臉」 101
第三節 資訊社會的監視運作;後911時期的美國預言 109
小結 120
結論 121
參考資料 127
圖版 137
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Foucault, Michel著,《規訓與懲罰》,劉北成、楊遠嬰譯(臺北:桂冠,1992年)
Hassan, Ihab著,劉象愚譯,《後現代的轉向:後現代理論與文化論文集》(臺北市:時報文化出版,1993年)
Jameson, Fredric著,《後現代主義或晚期資本主義的文化邏輯》,吳美真譯(臺北市:時報文化,1998年)
Jameson, Fredric著,《後現代主義與文化理論》,唐小兵譯(臺北市:合志文化出版,允晨文化發行,2001年)
Orwell, George著,《一九八四》,董樂文譯(臺北:志文,2001年)
Rancière, Jacques著,國立編譯館主譯,黃建宏譯,《影像的宿命》(臺北市:典藏藝術家庭,2011年)
Soja, Edward著,《第三空間:航向洛杉磯以及其他真實與想像地方的旅程》,王志弘、張華蓀、王玥民譯(臺北市:桂冠圖書,2004年)
Sturken, Marita、Lisa Cartwright著,《觀看的實踐:給所有影像世代的視覺文化導論》,陳品秀譯(臺北市:臉譜,2009年)
李昱宏,《灰色的隱喻:時間、機會、攝影與決定性瞬間》(臺北市:田園城市,2009年)
許綺玲著,《糖衣與木乃伊》(臺北市:美學書房出版,2001年)
西文期刊與雜誌評論
Aletti, Vince, Contribution to “Best of 2001,” Artforum, vol. 40 (December 2001): 92.
Angus, Denis, “Philip-Lorca diCorcia: faire le trottoir [Putting a gloss off things],” trans. Angus and Sandra Petch, Art Press 297 (January 2004): 42-47.
Bainbridge, Simon, “Everyday Life,” British Journal of Photography 150, no. 7436 (July 2, 2003): 31-33.
Bonacossa, Ilaria, “Philip-Lorca diCorcia,” Flash Art 34, no. 221 (November/December, 2001): 93.
Cole, David, “The New McCarthyism: Repeating History in the War on Terrorism,” Harvard Civil Rights-Civil Liberties Law Review, Vol. 38 (winter, 2003): 1-29.
Dziewior, Yilmaz, “Philip-Lorca diCorcia,” Artforum 36, No. 6 (February 1998): 101.
Elbert, Monica M., Striking a Historical Pose: Antebellum Tableaux Vivants, “Godey’s Illustrations, and Margaret Fuller’s Heroines,” New England Quarterly, vol. 75. No. 2 (June, 2002): 235-275.
Enright, Robert and Meeka Walsh, “Attentive Contradictions: The Photographic World of Philip-Lorca diCorcia,” Border Crossings, No. 108 (November 2008): 28-47.
Fisher, Cora, “Philip-Lorca diCorcia: Thousand,” The Brooklyn Rail (April 2009): 26.
Galassi, Peter, “Philip-Lorca diCorcia,” Artforum 39, No. 10 (Summer 2001): 169-173.
Griffin, Tim, “Private Eye: Photographer Philip-Lorca diCorcia takes the people of Times Square as his subject,” Time Out New York (September 6-13, 2001): 113.
Grundberg, Andy, “Street Fare: The Photography of Philip-Lorca diCorcia,” Artforum 37, No. 6 (February 1999): 80-83.
Hugen, Charles, “Images Projected, Images Caught.” New York Times, section C (April 30, 1993): 28.
Iversen, Margaret, “Readymade, Found Object, Photograph,” Art Journal, Vol. 63, No. 2 (summer, 2004): 44-57.
Kimmelman, Michael, “Art in Review: Philip-Lorca diCorcia, ‘Heads,’” New York Times (September 21, 2001): E26.
Marx, Gary T., “The Surveillance Society: the Threat of 1984-style Techniques,” The Futurist (June, 1985): 21-26.
“Philip-Lorca diCorcia: Heads,” PaceWildenstein gallery press release (2001), n. p.
Stevens, Mark, “In the Moment,” New York (October 14, 1996): 97.
Schwabsky, Barry, “Philip-Lorca diCorcia,” Contemporary 67 (2004): 27-29.
Soghoian, Christopher, “Transaction Surveillance by the Government,” Mississippi Law Journal, Vol. 75 (Dec 13, 2005): 140-200.
Symth, Diane, “Deliberate Accidents” British Journal of Photography (May 2011): 31-37.
Williams, John, “Double-take on Street Photography,” Photofile [Sydney] (winter 1983): 1, 5-6.
學位論文
Bussard, Katherine A., Unfamiliar Street: The Photographs of Richard Avedon, Charles Moore, Martha Rosler, and Philip-Lorca diCorcia (Ph. D. Dissertation, The City University of New York, 2009)
網路資料
“ACLU v. NSA: The Challenge to Illegal Spying,” URL: http://www.aclu.org/national-security/aclu-v-nsa-challenge-illegal-spying (2012/4/8 accessed).
“Artist’s Statement,” The Whitechapel Art Gallery Exhibition, London. URL: http://white.cyberporte.net/content.php?page_id=404 (2011, 05, 07 accessed).
Ayerza, Josefina, “Philip-Lorca diCorcia,” Lacanian Ink 14 (Spring 1999): 94-97. URL: http://www.lacan.com/frameXIV9.htm (2012/03/16 accessed).
Bloss William, “Escalating U.S. Police Surveillance after 9/11: an Examination of Causes and Effects,” Special Issue on ‘Surveillance and Criminal Justice’ Part 1, 4(3): 209. URL: http://www.surveillance-and-society.org/articles4(3)/escalating.pdf (2012/4/7 accessed).
Campany, David, “A Theoretical Diagram in an Empty Classroom’: Jeff Wall’’s Picture for Women,” Oxford Art Journal, Volume 30, Issue 1 (March 2007): 7-25. URL: http://oaj.oxfordjournals.org/content/30/1/7.full (2011/11/18 accessed).
Collins, Clayton, “Crime-Busting Cameras: A US-City Experiment,” The Christian Science Monitor (June 27, 2005). URL: http://www.csmonitor.com/2005/0627/p11s02-lihc.html (2012/4/8 accessed).
Cotton, Charlotte Cotton, INTERVIEW: “Philip-Lorca diCorcia on Hustlers & Thousand” (2006) URL: http://www.americansuburbx.com/2010/03/interview-philip-lorca-dicorcia-on.html (2011, 11, 16 accessed).
Devens, Dorian , Interview: “Photographer Philip Lorca diCorcia Talks”(2003) URL: http://www.americansuburbx.com/2011/09/interview-photographer-philip-lorca-dicorcia-talks-2003.html (2011, 03, 12 accessed).
Electronic Frontier Foundation-“AT&T’’s Role in Dragnet Surveillance of Millions of Its Customers,” URL: http://www.eff.org/files/filenode/att/presskit/ATT_onepager.pdf (2012/4/8 accessed).
Fopp, Rodney, “Increasing the Potential for Gaze, Surveillance and Normalization: the Transformation of an Australian Policy for People Who Are Homeless,” Surveillance & Society 1 (1): 48-65. URL: http://www.surveillance-and-society.org/articles1/homeless.pdf (2012/4/10 accessed).
Horyn, Cathy, “Q & A: Philip-Lorca diCorcia.” runway. blogs .nytimees .com (February 11. 2010) URL: http://runway.blogs.nytimes.com/2011/02/11/q-a-philip-lorca-di-corcia/ (2011, 12, 12 accessed).
Kimmelman, Michael, ART IN REVIEW; Philip-Lorca diCorcia – ‘Heads.’ URL:HTTP://WWW.NYTIMES.COM/2001/09/14/ARTS/ART-IN-REVIEW-PHILIP-LORCA-DICORCIA-HEADS.HTML (2011, 02, 12 accessed).
Magnum Photos Inc. URL: http://www.magnumphotos.com/ (2011/11/25 accessed).
Morgan, Stuart, “Deliberate Fictions,” Frieze Magazine, Issue 31 (November-December, 1996): n. p. URL: http://www.frieze.com/issue/article/deliberate_fictions/ (2011, 10, 31 accessed).
“New Photography” exhibition website URL: http://www.moma.org/docs/press_archives/6313/releases/MOMA_1986_0047_42.pdf?2010 (2011/12/01 accessed).
Oxford English Dictionary Online: “cinematic.” URL: http://oxforddictionaries.com/definition/cinematic (2011/11/23 accessed).
Oxford English Dictionary Online “tableau.” URL: http://www.oed.com/search?searchType=dictionary&q=tableau (2011/11/07 accessed).
Oxford English Dictionary Online “vivant.” URL: http://www.oed.com/view/Entry/271457?redirectedFrom=tableau%20vivant#eid (2011/11/07 accessed).
“Philip-Lorca diCorcia: What Happened Between ’’Streetwork’’ and ’’Heads’’?” (February 4, 2003) URL: http://www.oturn.net/probe/heads.html (2011, 2, 9 accessed).
Robinson, Henry Peach, Fading Away(1858)URL: http://www.rleggat.com/photography/history/robinson.htm (2011, 07, 08 accessed).
Schuman, Aaron, “Not Any More: Philip-Lorca diCorcia’s ‘Thousand,’” Foam (winter, 2007) URL: http://www.aaronschuman.com/plcthousand.html (2011/12/15 accessed).
Traub, James, “Common of Earthly Delights.” New York Times Magazine (March 14, 2004). URL: http://www.nytimes.com/2004/03/14/magazine/14TIMESSQUARE.html?pagewanted=all (2012/03/21 accessed).
The Chicago School of Media Theory “tableau vivant.” URL: http://lucian.uchicago.edu/blogs/mediatheory/keywords/tableau-vivant/ (2011/11/10 accessed).
The J. Paul Getty Museum-Artists- Hippolyte Bayard. URL: http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1876 (2011/11/16 accessed).
影音資料
Tate Channel-Exposed: Philip-Lorca diCorcia. URL: http://channel.tate.org.uk/media/609410003001 (2011/12/20 accessed)
指導教授 曾少千(Shao-chien Tseng) 審核日期 2012-7-18
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