| 摘要(英) |
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. |
| 參考文獻 |
藝術家作品
Christenberry, William. Working from Memory: Collected Stories. Göttingen: Steidl, 2008.
Eggleston, William. Democratic Forest. New York: Secker & Warburg, 1989.
Mann, Sally. Immediate Family. New York: Aperture, 1992.
Mann, Sally. Still Time. New York: Aperture, 1994.
Mann, Sally. Deep South. New York: Bulfinch Press, 2005.
Mann, Sally. Remembered Light: Cy Twombly in Lexington. New York: Abrams, 2016.
展覽圖錄
Dugan, Ellen. Picturing the South: 1860 to the Present. SF: Chronicle Books, 1996.
Lash, Miranda. and Schoonmaker, Trevor. Southern Accent: Seeking the American South in Contemporary Art. North Carolina: Nasher Museum of Art at Duke University, 2016.
Ravenal, John B. Sally Mann: The Flesh and the Spirit. Richmond, VA: Virginia Museum of Fine Art, 2010.
西文書目
Adams, Robert. Why People Photograph. New York: Aperture, 1994.
Adams, Robert. Beauty in Photography: Essays in defense of Traditional Values. New York: Aperture, 1996.
Cobb, James C. Redefining Southern Culture: Mind and Identity in the Modern South. The University of Georgia Press, 1999.
Davis, Keith F. An American Century of Photography: From Dry-plate to Digital. New York: Hallmark Cards, 1995.
Gillis, Natalie Kersey. Reconstructions: The Contemporary Southern Landscape by Its Photographers. MA Thesis, University of Florida, 2008.
Grundberg, Andy. Crisis of The Real: Writings On Photography. New York: D.A.P., 2010.
Hagen, Charles and Richardson, Nan. New Southern Photography: Between Myth and Reality. Aperture 115 (Summer 1989).
Hershberger, Andrew E. Photographic Theory: An Historical Anthology, first edition. Blackwell Publishing, 2014.
Henninger, Katherine. Ordering the Facade: Photography and Contemporary Southern Women’s Writing. The University of North Carolina Press: 2007.
Hirsch, Robert. Seizing The Light: A History of Photography. Boston: McGraw-Hill, 2000.
Kwon, Miwon. Tracing Cultures: Art History, Criticism, Critical Fiction. New York: D.A.P, 1994.
Marien, Mary Warner. Photography: A Cultural History. New York: Harry N. Abrams, 2002.
Mann, Sally. Hold Still: A Memoir with Photographs. New York: Little, Brown and Company, 2015.
McHaney, Thomas L. Literary Topics: The Southern Renaissance. Detroit: Gale Group, 2001.
O’Connor, Flannery. Mystery and Manners. New York: Farrar, Straus & Giroux, 1969.
O’Flaherty, Erin E. the Art of War: The Impact of Aesthetics in War Photography. MA Thesis, New Hampshire: Dartmouth College, 2012.
Rexer, Lyle. Photography′s Antiquarian Avant-garde: The New Wave in Old Processes. New York: Harry N. Abrams, 2002.
Wells, Liz. Land Matters: Landscape photography, Culture and Identity. London: I.B. Tauris, 2011.
中文書目
Ian Jeffrey著，吳莉君譯，《讀・攝影：打開宏觀時代、微觀生命的創作之眼》，臺北：原點，2015。
William Van O’Connor著，田維新譯，《美國作家專輯：威廉・福克納》，台北市：今日世界出版社，1984年。
黃虛峰，《美國南方轉型時期社會生活研究（1877-1920）》，上海市：上海人民，2007。
西文期刊
Bright, Deborah. “Of Mother Nature and Marlboro Men: An Inquiry into the Cultural Meanings of Landscape Photography.” Exposure 23, no.4 (1985, Winter): 5-18.
Ehrhart, Shannah. “Sally Mann’s Looking Glass House,” in Tracing Cultures: Art History, Criticism, Critical Fiction. New York: Whitney Museum of American Art, 1994.
Garner, Gretchen. “New Metaphorics: Spirit and Symbol in Contemporary Landscape Photography.” Center Quarterly 10, no.1 (1988, Fall): 4-9.
Schuweiler, Suzanne. “Sally Mann’s South,” Southeastern College Art Conference Review 16 (March 2013): 325-336.
Trachtenberg, Alan. “Albums of War: On reading Civil War Photographs.” Representations 9 (Winter, 1985): 1-32.
Trachtenberg, Alan. “Through a Glass, Darkly: Photography and Cultural Memory.” Social Research 75, no. 1 (Spring, 2008): 111-132.
中文期刊
劉瑞琪，〈莎莉‧曼恩兒童攝影中的母性拜物主義〉，《近代肖像意義的論辯》，台北：遠流出版社，2012，頁18-59。
影片
Cantor, Steven. What Remains: A Film About Life and Work of Sally Mann. 2003.
Fleming, Victor. Gone with The Wind. 1939.
曼恩與Chrarlie Rose於2016年的訪談影片
Imagine: The Colourful Mr. Eggleston
新聞資料
Als, Hilton. “The Unvanquished: Sally Mann′s Portrait of the South,” The New Yorker (Sep 27, 1999).
Cotter, Holland. “Old South Meets New, in Living Color,” The New York Times (Nov 6, 2008).
Glueck, Grace. “Sally Mann.” New York Times (October 15).
Hodgson, Francis. “View from the South,” Financial Times (July 2010).
Latson, Jennifer. “How Emmett Till’s Murder Changed the World,” Time (Aug 28, 2015).
Levi Strauss, David. “Sally Mann.” Artforum International (February 1, 1998).
Richard B. Woodward, “The Disturbing Photography of Sally Mann,” The New York Times (September 27, 1992).
Sarah Moroz. “Emmet Gowin: ‘Everyone thought my photographs were incestuous’,” The Guardian (29 May, 2015).
網路資源
“1767 Mason and Dixon draw a line,” This Day In History,
Artists & Alchemist, 2011.
Ethereality: Memories of places you’ve never been. Tilt Gallery.
Washington and Lee University,
Sally Mann: Six Rivers. Reynolds Gallery.
“Sally Mann: Collodion Process,” in Art 21.
Search for Shadows in the West of Ireland. 1996.
〈威廉・福克納〉，《英文文學與文化資料庫》，
Walter Anderson Museum of Art網站：
Hopps, Walter .“Eggleston′s World,” in Essays from The Hasselbound Award, 1998.
Holborn, Mark. “Introduction to Ancient and Modern,”in Ancient and Modern, 1992. |
[Endnote RIS 格式]
[相關文章]
[文章引用]
[完整記錄]
[館藏目錄]
facebook
plurk
twitter
funp
google
live
udn
HD
myshare
reddit
netvibes
friend
youpush
delicious
baidu
Google bookmarks
del.icio.us
hemidemi