| 摘要(英) |
David Lynch (1946- ), best known as an American film director, has been involved in various visual art domains during his career. The exhibition “David Lynch: The Factory Photographs” held in The Photographers’ Gallery in early 2014, showed the black and white photographs taken by Lynch in disused industrial areas in Central Europe, the UK and the USA from 1980 to 2000. The “industrial motif” has become a repeated theme in Lynch’s work; in the factory photographs, the recurrent upward angle in framing, and the unsettling dark ambiance, both evoke Lynchian uncanny and mysterious scenarios. The artist’s special emphasis on abstract aesthetics of mechanical structures, as well as the mood and texture in the industrial wastelands, open up the series to diverse interpretations.
My first chapter begins with the general analysis of the catalogue The Factory Photographs, indicating the motifs of Lynch’s images. By reviewing the history of industrial landscape photography, and comparing Lynch’s images with the relevant works of other photographers, we see the difference in terms of technology, style and intention. The derelict factories, as a symbol of industrial ruin or wasteland, remain beautiful in Lynch’s eye, through which we discover his unique view and aesthetic attitude towards the decaying industrial architecture. In the second chapter, I discuss Lynch’s industrial-related drawings and paintings by comparing them with the machine aesthetics and avant-garde art trends between the first and second world wars. There also exist the traces of avant-garde photography, especially the New Vision, in Lynch’s factory photographs. Lynch treats drawing and photography as distinct media, as the tension and sublimity of industry are underlined in the photographs. The third chapter mainly focuses on the comparison between the “factory” in Lynch’s film and photography. With Eraserhead, we find the similar industrial atmosphere or composition in both moving pictures and still images, but it assumes distinct meaning and narrative possibility. In Inland Empire, the “factory” can be regarded as the metaphor of urban space, which plays a complex and bizarre role in the real life and image world. The dilapidated factory spaces captured by Lynch’s camera, express darkness and optimism, thrill and beauty in the same series; with the characteristics of photography, according to the diverse contexts, we may find a variety of interpretations |
| 參考文獻 |
藝術家作品
David Lynch: Works on Paper. Steidl, 2011.
展覽圖錄
David Lynch: The Air is on Fire. New York,N.Y.: Thames & Hudson, c2007.
Cozzolino, Robert. David Lynch: The Unified Field. Berkeley: University of California Press, 2014.
Giloy-Hirtz, Petra. David Lynch: The Factory Photographs. Munich; New York: Prestel, c2014.
Littman, Brett. David Lynch: Naming. Los Angeles: Kayne Griffin Corcoran, 2013.
Spies, Werner, ed. David Lynch: Dark Splendor. Ostfildern: Hatje Cantz, c2010.
西文書目
Barley, Richard. David Lynch: Interviews. University Press of Mississippi, 2009.
Becher, Bernd. Industrial Landscapes. Cambridge, Mass.: MIT Press, 2002.
Becher, Bernd. Basic Forms of Industrial Buildings. London: Thames & Hudson, 2005.
Bould, Mark. Film Noir: From Berlin to Sin City. London; New York: Wallflower, 2005.
Campany, David, ed. The Cinematic, London: Whitechapel, 2007.
Campany, David. Photography and Cinema. London: Reaktion Books, 2008.
Clark, Graham. The Photograph. Oxford: Oxford University Press, 1997.
Frizot, Michel. A New History of Photography. Koln: Konemann, c1998.
Dimendberg, Edward. Film Noir and the Space of Modernity. Cambridge, Mass.: Harvard University Press, 2004.
Hambourg, Maria Morris. The New Vision: Photography between the World Wars. New York: Metropolitan Museum of Art, 1994.
Lange, Susanne. translated by Jeremy Gaines. Bernd and Hilla Becher: Life and Work. Cambridge, Mass: MIT Press, c2007.
Mack, Michael, ed. Reconstructing Space: Architecture in Recent German Photography. London: Architectural Association, 1999.
Martin, Richard. Mean Streets and Raging Bulls: The Legacy of Film Noir in Contemporary American Cinema. Lanham, Md.: Scarecrow Press, c1999.
Martin, Richard. The Architecture of David Lynch. Bloomsbury Academic, 2014.
Mathijs, Ernest. Jamie Sexton, Cult Cinema: An Introduction. Wiley-Blackwell, 2011.
McGowan, Todd. The Impossible David Lynch. New York: Columbia University Press, c2007.
Naremore, James. More than Night, Film Noir in Its Contexts, Berkeley: University of California Press, c1998.
Nelson, Robert. The Spirit of Secular Art. Clayton, Vic.: Monash University ePress, 2007.
Nochimson, Martha P. The Passion of David Lynch. University of Texas Press, 1997.
O′Boyle, Shaun. Modern Ruins: Portraits of Place in the Mid-Atlanticregion. University Park: Pennsylvania State University Press, 2010.
Olson, Greg, David Lynch: Beautiful Dark. Lanham, Md.; Plymouth: Scarecrow Press, 2011, c2008.
O′Neill, Annie. Unquiet Ruin: A Photographic Excavation. Pittsburgh: Mattress Factory, c2001.
Orr, John. Hitchcock and Twentieth-Century Cinema, London: Wallflower, 2005.
Ostman, Ronald E. and Harry Littell. Margaret Bourke-White: The Early Work, 1922-1930. Boston: David R. Godine, 2005.
Rodley, Chris, ed. Lynch on Lynch, New York: Faber and Faber, 2005.
Sichel, Kim. Germaine Krull: Photographer of Modernity. Cambridge, Mass.: MIT Press, c1999.
Steinert, Otto. Parisian Forms. Göttingen: Steidl ; Essen: Museum Folkwang , 2008.
Telotte, J.P. The Cult Film Experience: Beyond All Reason, Austin: University of Texas Press, 1991.
Wenders, Wim. Once: Pictures and Stories. New York: D.A.P, 2010.
中文書目
Chris Rodley著，《我心狂野：大衛•林奇訪談錄》（Lynch on Lynch），馮濤譯，北京：三聯，2004。
Christopher Woodward著，《人在廢墟：文學、藝術與歷史中的廢墟美學》（In Ruins），張讓譯，臺北：邊城，2006。
David Lynch著，《大衛·林區談創意》（Catching the Big Fish: Meditation, Conscience, Creativity），盧慈穎譯，臺北：遠流，2008。
James Naremore著，徐展雄譯，《黑色電影：歷史、批評與風格》（More than Night, Film Noir in Its Contexts），廣西師範大學出版社，2009。
John Berger、 Jean Mohr著，《另一種影像敘事》（Another Way of Telling），張世倫譯，臺北：臉譜，2009。
Peter Bürger著，《前衛藝術理論》（Theorie der Avantgarde），蔡佩君、徐明松譯，臺北：時報文化，1998。
Susan Sontag著，《論攝影》（On Photography），黃燦然譯，臺北：麥田，2004。
西文期刊
Baccaro, Lucio, and Chris Howell. “A Common Neoliberal Trajectory: The Transformation of Industrial Relations in Advanced Capitalism”, Politics & Society (39 (4), 2011): 521-563.
Biro, Matthew. “From Analogue to Digital Photography: Bernd and Hilla Becher and Andreas Gursky,” History of Photography, 36.3 (August 2012): 353-366.
Foucault, Michel. “Of Other Spaces”, trans. Jay Miskowiec, Diacritics, Vol 16, No.1 (Spring 1986), 22-27.
Herbert, Robert L. “The Arrival of the Machine: Modernist Art in Europe, 1910-25”, Social Research, Vol. 64, No. 3 (Fall 1997): 1273-1305.
Lanzi, Paolo Sebastiano. “Snowmen. David Lynch as photographer and ‘The Uncanny’”, PsicoArt, Vol 3, N° 3 (2013): 1-26.
Orr, John. “A Cinema of Parallel Worlds: Lynch, Kieślowski and Inland Empire”, Film International, Vol. 7, No.1, (February 2009), 28-43.
中文期刊
李永展、藍逸之、莊翰華，〈全球經濟變遷、發展型國家與台灣城鄉規劃之重探〉，《地理學報》（第四十期，2005），69-97。
王聖閎，〈荒蕪的生命與空缺的凝視 現當代藝術中的幾種荒地形象〉，《藝外雜誌》，54期，44-49。
劉克峰，〈廢墟的概念〉，《藝術觀點ACT》（2015年4月，62期），56-62。
網路資源
“David Lynch and the factory archive”. FT Magazine. Web. 6 Dec. 2015.
“David Lynch: every picture tells a (small) story”. Agenda Magazine. Web. 22 Dec. 2015.
“David Lynch: Keeps His Head by David Foster Wallace”. The City of Absurdity. Web. 18 Jun. 2014.
“Industrial Symphony No.1”, Vimeo.
Web. 24 Apr. 2016
“Jaromír Funke and Czech Photography, 1920-39”. MoMA. Web. 10 Dec. 2015. http://www.moma.org/interactives/ objectphoto/assets/essays/Dufek.pdf.
Maison Européenne de la Photographie. Web. 20 June. 2014.
Maison Européenne de la Photographie. Web. 14 June. 2016.
Shanghai Biennale. Web. 10 June. 2016
< http://www.shanghaibiennale.org/cn/exhibition/year_topic/84.html>
The Photographers’ Gallery. Web. 20 June. 2014. |
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