偶然與安排：Joel Sternfeld《陌生過客》系列的攝影敘事

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論文名稱

偶然與安排：Joel Sternfeld《陌生過客》系列的攝影敘事
(Chance and Arrangement: Pictorial Narrative in Joel Sternfeld’s Stranger Passing Series)

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摘要(中)

美國當代彩色攝影先鋒Joel Sternfeld（1944－）於1968年創作至今，業已累積出版十四本不同系列攝影書，作品亦逐漸展現Sternfeld對社會的關注與敘事企圖。1985至2000年，Sternfeld讓自身與被攝者處於互為陌生人的關係，拍攝其行走美國途中首次相遇的人，創作為《陌生過客》（Stranger Passing，1985－2000）系列。此系列雖然以陌生人為題，但畫面並未侷限於被攝者，而仍含納範圍不小的空間脈絡，本文由「陌生人」與「空間」兩個層面，探究《陌生過客》系列對於陌生人主題的詮釋以及敘事策略。

關於陌生人論題，社會學已累積諸多討論文獻，本文透過援引社會學理論，指出《陌生過客》系列的攝影實踐突破與街道上陌生人的疏離關係，呈現陌生人的個體性，卻仍舊維持陌生人的匿名性。本文主張，觀看《陌生過客》系列的經驗有別於社會學者對陌生人世界的描述，讓觀者意識到自身對陌生人的猜測與想像。

本論文尤其借重攝影學者Robin Kelsey對攝影偶然與安排間的關係之探究，在敘事策略上，指出Sternfeld不同於同時代的編導攝影挪用電影語言精心設計拍攝場景，創作具有高度敘事張力的畫面，而秉持與被攝事物偶遇的傳統，並以彩色底片與大型相機，突顯攝影擅長捕捉實景細節的媒材特性。另一方面，Sternfeld未如同典型街頭攝影家，著重捕捉得以牽引出前後時間脈絡的決定性瞬間，相反地，他打斷原先時間的流動，上前邀約陌生人合作拍攝，讓被攝者以靜止狀態直視相機鏡頭。然而，Sternfeld仍在畫面保留相遇陌生人時的脈絡，如被攝者的姿勢動作，攜帶的物品，經過的空間等，作品的豐富細節吸引觀者投入時間細審閱讀。在空間部分，藉由比較Sternfeld拍攝地景的系列作品，論證《陌生過客》系列人物與地景的交織，彰顯出Sternfeld與被攝者的移動性狀態。

摘要(英)

Joel Sternfeld (1944－) is the pioneer of America contemporary color photography. Since he started his creative works in 1968, Sternfeld has published fourteen photography books of various series. Throughout the years, the works of Sternfeld gradually show his sensitivity and concern towards society and his narrative ambition. From 1985 to 2000, Sternfeld photographed strangers that he encountered when he traveled across America, and ultimately presented the works in the book Stranger Passing. Although this series depicts strangers as the theme, the photographs are not restricted to the sitters. The photographs still demonstrate the spatial context to a considerable degree. The thesis analyzes the two main aspects—strangers and spaces, focusing on Sternfeld’s interpretation of the strangers and his narrative strategy.

There has been abundant literature in sociology on the subject of the stranger. Appling the sociological theories, this thesis demonstrates how Sternfeld breaks away the type of alienated strangers through his way of photographing. The photographs show the individuality of each stranger, yet they maintain the anonymity of each individual. The experience of viewing Stranger Passing differs from the sociological study of the stranger, for the viewer is encouraged to imagine the lives of the photographed strangers.

This thesis considers Robin Kelsey’s relevant study of photography, focusing on the relation of chance and arrangement. Following Kelsey’s observation, we can see Sternfeld’s work is different from other photographers’ narrative strateges. While staged photography, which appropriated cinematic approach and emphasized visual drama, became the main technique, Sternfeld still continued to retain the tradition of the chance meeting inherent in taking photographs. Sternfeld chose to photograph in color and with a view camera; these technical choices show Sternfeld’s attention to the unique character of photography that captures details of the real world. On the other hand, Sternfeld does not identify with typical street photographers, who usually emphasize the decisive moment during the process of an event. On the contrary, he interrupts the flow of time. He would walk up to the strangers, inviting them to be his models of the photograph, asking them to look straight into the camera lens. Sternfeld would interrupt what the strangers were doing and converse with them. While photographing, he would let his sitters conduct their usual actions, and show the things they carry and the places they work or live in. The intriguing details of Sternfeld’s photographs enable the viewer to look closely and generate meanings. Through the analysis of the space in the Stranger Passing series, and a comparison with Sternfeld’s diverse landscape photographs, this thesis argues that the interaction of people and places shown in the Stranger Passing series, manifests the mobility states of Sternfeld and his subjects.

關鍵字(中)

★ Joel Sternfeld
★ 《陌生過客》系列
★ 陌生人
★ 人像與地景
★ 空間敘事

關鍵字(英)

★ Joel Sternfeld
★ Stranger Passing
★ The Stranger
★ Portraiture and Landscape
★ Spatial Narrtive

論文目次

緒論 ……………………………………………………………………………………………………1

研究動機 …………………………………………………………………………………………1
文獻回顧與問題意識 …………………………………………………………………3
研究方法與章節架構 …………………………………………………………………7
研究限制 …………………………………………………………………………………………8

第一章 Joel Sternfeld的創作養成與攝影歷程 ………9

第一節色彩與大型相機 …………………………………………………………9
色彩的描述話語 ………………………………………………………………………10
使用大型相機 ……………………………………………………………………………13

第二節系列創作：社會紀實的展露 ………………………………17
快拍 ………………………………………………………………………………………………17
地景 ………………………………………………………………………………………………19
人像 ………………………………………………………………………………………………24

小結 …………………………………………………………………………………………………28

第二章陌生人魅力 …………………………………………………………………29

第一節尋找陌生人蹤跡 ……………………………………………………30
由社會學談起 ……………………………………………………………………………30
現身城市街頭 ……………………………………………………………………………33
聚焦陌生個體 ……………………………………………………………………………36

第二節陌生人的偶然與安排 ……………………………………………38
攝影的偶然 …………………………………………………………………………………38
從類型到個體 ……………………………………………………………………………41
冷面攝影？ …………………………………………………………………………………44

小結 ……………………………………………………………………………………………………46

第三章經過之處 …………………………………………………………………………47

第一節空間的偶然與安排 ……………………………………………………47
美國公路攝影 ………………………………………………………………………………48
移動中的日常表現 ……………………………………………………………………51

第二節空間的敘事 …………………………………………………………………56
另一種敘事 ……………………………………………………………………………………56
攝影與文字 ……………………………………………………………………………………58
攝影的曖昧，觀者的想像 ………………………………………………………60

小結 ……………………………………………………………………………………………………62

結論──紀實的更新 …………………………………………………………………………63

參考資料 ……………………………………………………………………………………………66

附錄 ………………………………………………………………………………………………………72
附錄一：電子書信訪問Joel Sternfeld ………………………72
附錄二：Joel Sternfeld的創作年表 ……………………………75
附錄三：Joel Sternfeld語錄彙整 …………………………………77

論文圖版 ……………………………………………………………………………………………81

參考文獻

攝影家作品

Sternfeld, Joel, Walking the High Line. Göttingen: Steidl, 2012 [2001].

---, First Pictures. Göttingen: Steidl, 2011.

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---, Hart Island. Zürich; New York: Scalo, 1998.

---, On this site: Landscape in Memoriam. San Francisco: Chronicle Books, 1996.

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西文書目

Angier, Roswell, Train Your Gaze: A Practical and Theoretical Introduction to Portrait photography. Lausanne: AVA, 2007.

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Bussard, Katherine A., Unfamiliar Streets: The Photographs of Richard Avedon, Charles Moore, Martha Rosler, and Philip-Lorca DiCorcia. New Haven: Yale University Press, 2014.

Bowman, Rob ed., Open City: Street Photographs since 1950. Oxford: Museum of Modern Art; Ostfildern: Hatje Cantz Verlag, 2001.

Berger, John, “Understanding a Photograph.” in Classic Essays on Photography. New Haven, Conn.: Leete′s Island Books, 1980.

Campany, David, The Open Road: Photography and the American Road Trip. New York: Aperture Foundation, 2014.

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Cotton, Charlotte, The Photograph as Contemporary Art. London; New York, NY: Thames & Hudson, 2009 [2004].

Eauclaire, Sally, The New Color Photography. New York: Abbeville Press, 1981.

---, New Color/ New Work: Eighteen Photographic Essays. New York: Abbeville Press, 1984

Eskildsen, Ute, ed., Street & Studio: An Urban History of Photography. New York: Harry N. Abrams, Inc., 2008.

Frank, Robert, The Americans. Gottingen: Steidl; Washington: National Gallery of Art, 2008.

Goldberg, Vicki, Light Matters. New York: Aperture; London: Thames & Hudson distributor, 2010.

Goffman, Erving “Face Engagements.” in Behavior in Public Places: Notes on the Social Organization of Gatherings. New York: Free Press of Glencoe, 1963.

Hirsch, Robert, Seizing the Light: A Social History of Photography. New York, NY: McGraw-Hill, 2009.

Hine, Lewis, “Social Photography.” in Alan Trachtenberg ed., Classic Essays on Photography. New Haven, Conn.: Leete′s Island Books, 1980.

Howarth, Sophie and Stephen McLaren, Street Photography Now. London: Thames & Hudson, 2010.

International Center of Photography, Strangers: The First ICP Triennial of Photography and Video. Göttingen: Steidl, 2003.

Jeffrey, Ian, How to Read a Photograph: Lessons from Master Photographers. New York: Abrams, 2008.

Keller, Judith and Anne Lacoste, Where We Live: Photographs of America from the Berman Collection. Los Angeles: J. Paul Getty Museum, 2006.

Kelsey, Robin “Photography, Chance, and The Pencil of Nature.” in Robin Kelsey and Blake Stimson eds., The Meaning of Photography. Williamstown, Mass.: Sterling and Francine Clark Art Institute; New Haven: Distributed by Yale University Press, 2008.

---, Photography and the Art of Chance. Cambridge, Mass.: Harvard University Press, 2015.

Kozloff, Max, “The Sander Effect: Portraiture and the Exposure of the Masquerade.” in The Theatre of the Face: Portrait Photography since 1900. London; New York: Phaidon, 2007.

Lofland, Lyn H., A World of Strangers: Order and Action in Urban Public Space. Prospect Heights, Ill.: Waveland Press, Inc., 1985.

Lange, Christy, Stephen Shore. London ; New York, NY : Phaidon Press, 2007.

Moore, Kevin, Starburst: Color Photography in America 1970-1980. Ostfildern: Hatje Cantz, 2010.

Marie, Mary Warner, 100 Ideas that Changed Photography. London: Laurence King 2012.

New Topographics. Tucson, AZ: Center for Creative Photography; Rochester, NY: George Eastman House; Göttingen: Steidl, 2009.

Olin, Margaret, “Gaze.” in Robert S. Nelson and Richard Shiff eds, Critical Terms for Art History. Chicago: University of Chicago Press, 2003.

Szarkowski, John, William Eggleston′s Guide. New York: Museum of Modern Art, 2002.

Smith, Graham, Photography and Travel. London: Reaktion Books, 2013.

Soth, Alec, From Here to There: Alec Soth′s America. Minneapolis, Minnesota: Walker Art Center, 2010.

Solomon-Godeau, Abigail, Photography At the Dock: Essays on Photographic History, Institutions, and Practices. Minneapolis: University of Minnesota Press, 1991

Simmel, George “The Stranger.” in George Simmel, On Individuality and Social Forms. Chicago: University of Chicago Press, 1971.

Sander, August “Photography as A Universal Language.” in August Sander: Seeing, Observing and Thinking: Photographs. Munich: Schirmer/Mosel; Cologne: Photographische Sammlung/SK Stiftung Kultur, 2009.

---, People of the 20th Century: A Cultural Work of Photographs Divided into Seven Groups. New York: H.N. Abrams, 2002.

Shore, Stephen, American Surfaces. New York: Phaidon, 2005.

---, Uncommon Places. New York: Aperture, 2004.

Weski, Thomas ed., William Eggleston: Los Alamos. Göttingen: Steidl, 2003.

Westerbeck, Colin and Joel Meyerowitz, Bystander: A History of Street Photography. Boston: Little, Brown, 2001.

中文書目

伊恩‧傑佛瑞（Ian Jeffrey）著，《讀攝影》（How to Read A Photograph），吳莉君譯，臺北市：原點出版，2015。

伊忝（Johannes Itten）著，《色彩的藝術》（Kunst der Farbe），蔡毓芬譯，台北市：地景發行，2009。

托克維爾（Alexis de Tocqueville）著，《民主在美國》（Democracy in America），秦修明、湯新楣、李宜培譯，台北：左岸文化，2005。

貝傑（Gerry Badger）著，《攝影的精神》（The Genius of Photography），施昀佑、黃一凱譯，新北市：大家出版：遠足發行，2012。

法爾‧威廉斯（Val Williams）著，《這才是攝影：跨越百年歷史的不朽影像剖析》（What Makes Great Photography），洪人傑譯，臺北市：城邦文化，2012。

約瑟夫‧阿爾伯斯（Josef Albers）著，《色彩構成》（Interaction of Color），李敏敏譯，重慶：重慶大學出版社，2012。

約翰‧伯格（John Berger）、尚‧摩爾（Jean Mohr）著，《另一種影像敘事》（Another Way of Telling），張世倫譯，臺北市：臉譜，城邦文化出版，2009。

柯頓（Charlotte Cotton）著，《這就是當代攝影》（The Photograph as Contemporary Art），張世倫譯，新北市新店區：大家出版：遠足文化發行，2011。

班雅明著，〈攝影小史〉，《迎向靈光消逝的年代》，許綺玲譯，臺北市：臺灣攝影工作室，1998。

莎士比亞（William Shakespeare）著，《亨利四世》（上）（Henry IV），虞爾昌譯，臺北：世界書局，1996。
戴爾（Geoff Dyer）著，《持續進行的瞬間》（The Ongoing Moment），吳莉君譯，臺北市：麥田，城邦文化出版，2013。

龍迪勇著，《空間敘事學》，北京市：生活‧讀書‧新知三聯書店，2015。

羅蘭‧巴特（Roland Barthes）著，《明室：攝影札記》（La Chambre Claire: Note sur la Photographie），許綺玲譯，臺北市：臺灣攝影工作室出版，1997。

蘇珊‧桑塔格（Susan Sontag）著，《論攝影》（On Photography），

黃燦然譯，臺北市：麥田，城邦文化出版，2010。

西文期刊

Albers, Kate Palmer, “Joel Sternfeld’s Empty Places.” Environmental History 20 (2015): 113-119.

Becker, Howard S. “Visual Sociology, Documentary Photography, and Photojournalism: It′s (almost) all a Matter of Context.” Visual Studies 10:1 (1995): 10.

Clayton, Richard, “Decent Exposures.” Design Week Vol.17. Issue 50 (2002): 40.
Davies, Lucy, “Revealing Landscape.” Telegraph Magazine (24 Sept. 2011): 56-63.

Kozloff, Max “The Coming of Age of Color.” Artforum (Jan. 1975): 30-35.

Lund, Maria Fosheim, “Facing the Meltdown.” Afterimage 37 No. 3 (2009): 33-34.

Memou, Antigoni, “Globalisation and the Art Photography of Joel Sternfeld.” Photographies Vol. 5. No. 1 (Mar. 2012): 3-18.

Oddy, Jason, “Making the Past Present.” Modern Painters (summer 2003): 26-28.
Prince, Mark “Joel Sternfeld.” Art Monthly No. 363 (Feb. 2013): 26-28.

Sternfeld, Joel, “Joel Sternfeld.” Camera No. 11 (November 1977): 16.

Tarshis, Jerome, “Joel Sternfeld at SFMOMA.” Art in America No. 3 (Mar. 2002): 139.

網路資源

“Artist Bio.” Luhring Augustine. Web. 8 Dec. 2014. .
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影音資料

The Genius of Photography. British Broadcasting Corporation (BBC). London: 2 Entertain Video, 2006. DVD.

指導教授

曾少千(Shao-Chien Tseng)

審核日期

2016-6-30

推文