肖像攝影的空間、經驗、類型：1920至1930年代臺灣寫真館佈景研究;The Space, Experience, and Types in Portrait Photography: A Study of Painted-Backdrops in Taiwan’s Photographic Studios during the 1920s and 1930s

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Title:	肖像攝影的空間、經驗、類型：1920至1930年代臺灣寫真館佈景研究;The Space, Experience, and Types in Portrait Photography: A Study of Painted-Backdrops in Taiwan’s Photographic Studios during the 1920s and 1930s
Authors:	吳謹為;Wu, Jin-Wei
Contributors:	藝術學研究所
Keywords:	常民攝影;肖像攝影;寫真館;寫場;寫真材料;佈景;現代性;欺眼;vernacular photography;portrait photography;photographic studio;accessories;painted-backdrop;modernity;trompe-l’oeil
Date:	2025-01-17
Issue Date:	2025-04-09 18:31:33 (UTC+8)
Publisher:	國立中央大學
Abstract:	本文爬梳日治時期臺灣營業寫真館的發展，聚焦於1920至1930年代鼎盛期的多元複雜面貌，透過寫真館的佈景研究，重新觀看1990年代以降臺灣「類圖像史書」所收錄各地散佚的肖像攝影，嘗試跳脫單一地方敘事的書寫邏輯，關注於過去甚少研究的佈景技術，即影像可見卻不被意識的空間模塑。以常民攝影的研究視野，採納學者傑佛瑞．巴欽（Geoffrey Batchen）和緒川直人提出的研究方法，結合物質文化、類型與型態學，以及寫真經驗社會史的觀察，一方面分析影像內部的相似性結構，另一方面拓繪影像與社會的互動網絡。經由臺灣各地具名與佚名寫真館的相互參照，比較視覺材料之間的共性，在未盡梳理的影像進行擴寫。同時輔以報紙、期刊雜誌與私人日記等文本解讀，釐清當時文化與社會脈絡之下，寫真館與佈景技術的意義。　　爰此，本文以下將分為三章探討：第一章聚焦於寫真館與攝影棚的物質與技術，將技術史的書寫從相機的內部結構解放，觀照於圍繞鏡頭之外的影像生產條件，諸如光源與佈景調和、佈景製作來源與空間配置等，對應寫真館與寫真材料工業之間的產業生態。作為現代性經驗觸發的場域，寫真館又是如何向眾人敞開，藉由專業化商業模式與攝影棚配置的操作機制，共構拍攝者與被攝者在場的對話關係。第二章和第三章分別針對「室內佈景」與「室外佈景」的圖像展開觀察，其一形式分析與歸納類型，探討佈景的常見題材、類型化景觀與形態變化；其二結合寫真材料商品型錄的圖像比較，尋思圖像的跨地域傳播，以及不同文化脈絡的元素拼裝；其三著眼於佈景場面調度、屏蔽與欺眼（trompe-l’œil）的再現邏輯與技巧，最終佈景可能涉及的審美認知、生活理想範式、地方性與社會現實等問題。 ;This paper explains the development of commercial photographic studios in Taiwan during the Japanese colonial period, focusing on its diversity and complexity from the 1920s to the 1930s. By studying the painted-backdrops used in those photographic studios, it revisits the portrait photography collected in Taiwan’s “quasi-pictorial history books” since the 1990s. The study aims to transcend the logic of writing single and monolithic local narratives and instead highlights the rarely explored backdrop techniques—the spatial construction visible in images but the often overlooked spatial concepts. Adopting a vernacular photography research perspective, this study integrates methods proposed by scholars Geoffrey Batchen and Naoto Ogawa, combining insights from material culture, typology, morphology, and the social history of photographic experience. It simultaneously analyzes structural similarities within images and maps the interactive networks between photographs and society. Through cross-referencing of named and anonymous photographic studios across Taiwan, the study compares visual materials to identify commonalities and expands upon under-explored images. Supplementing this analysis with contemporaneous newspapers, magazines, and personal diaries, the thesis clarifies the cultural and social significance of photographic studios and backdrop techniques within their historical context. The thesis is structured into three chapters: Chapter One focuses on the materiality and techniques of photography studios and studios’ physical spaces. It liberates the writing of technical history from an exclusive focus on camera mechanisms, shifting attention to the production conditions surrounding the lens, such as lighting arrangements, backdrop production sources, and spatial configurations. These elements are analyzed in connection with the photographic industry between photographic studios and supplying trades of photographic materials and accessories. As the sites that triggered modern experiences, photographic studios opened themselves to the public, shaping a dialogue between photographers and sitters through specialized commercial models and studio operation mechanisms. Chapters Two and Three respectively examine the images of “interior backdrops” and “landscape backdrops.” First, I conduct formal analyses and typological classification, exploring common themes, standardized landscapes, and morphological changes of backdrops. Second, I compare backdrop images with those in the catalogs of photographic materials and products, investigating transregional image dissemination and the assemblage of elements from different cultural contexts. Third, I focus on the representational logic and techniques of mise-en-scène, screening, and trompe-l’œil used in portrait studios, ultimately addressing questions of aesthetic perception, paradigms of ideal living, local identity, and social realities embedded in backdrops.
Appears in Collections:	[Graduate Institute of Art Studies] Electronic Thesis & Dissertation

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