消散於風景之中：論冷面攝影的美學

Being in the Landscape: On Aesthetics of Deadpan Photography

「冷面」如何形成美學？「冷面」攝影被視為冷觀、客觀、疏離、銳利的風格。透過攝影歷史上幾個重要時期，關於寫實攝影的演變：從攝影術發明之初，新客觀主義、新地景攝影、杜塞多夫學派、到台灣寫實攝影等。本論文分析各種風格形式，攝影家對於「真實」的詮釋，觀測不同年代審美觀念的轉移，得以抽繹出「冷面」萌生原因。進而開啟「冷面」所衍生的美感，透過「風景」主題的追尋，題材的脈絡，解析「冷面」的風景再現，及美學的顯現。從「冷面」作品所開展的視野，我們居於觀者位置，投向客觀的風景，減低個人情感，遠離自身，生活於風景的真實所在，消散於風景之中。

How does the term ＂deadpan＂ become an aesthetic of photography? The deadpan photography is described as a cool, objective, detached and sharp style. Through several important historical period of photography, on the issue of realistic photography, from the beginning of photography, New Objectivity, New Topologics, Düsseldorf School, and realistic photography evolved in Taiwan, this paper analyzes various style and forms in order to understand how photographer interprets ＂reality.＂ By observing transformation of deadpan aesthetics at different art period, this analysis investigates the reason why ＂deadpan＂ was created, traces different themes of landscape photographs, realizes the representation of landscape, and its specific context of subject. From perspectives of deadpan's artwork, as an observer, viewers can approach objective landscape, reduce personal feeling and subjectivity, indulge themselves in the landscape, and live in the reality of landscape.