「寫真」與「二我」－－「風前塵埃」、「三世人」中攝影術、攝影者與觀影者之象徵意涵

'Xie Zhen' and 'Er Wo' - The Symbolism of photography, photographer and the audience in Dust in the Wind and People in Three Dynasties

擅長將龐雜的文化素材編入小說脈絡的施叔青，在《台灣三部曲》的後兩部《風前塵埃》和《三世人》中，塑造了幾位喜愛攝影的寫真家和電影迷的角色，筆者以為相當具有象徵意涵。本文試圖剖析小說中寫真師范姜義明和電影迷王掌珠兩個角色，藉由參酌歷史上由施強開在鹿港、被施叔青寫入小說的「二我」寫真館之資料，援引相關的攝影觀點，以及攝影用於電影媒材所展示的技巧，試圖探索兩部小說中攝影術（靜態攝影和電影）、攝影者和觀影者的象徵性及效用。筆者以為，攝影術的援用與細寫不僅貼合日治時期的台灣文化圈和民眾娛樂，更因攝影術具有對真實的辯證、攝影縮放鏡頭給予觀眾的感受、電影和觀眾的距離感及其象徵，鮮活地對應這個變動紛亂的時代，進而有效地強化這個時期諸多「台灣人」（漢人、原住民、客家人、「灣生」的日本人等）的「二我」想像。

In the novels Dust in the Wind and People in Three Dynasties, writer Shih Shu-ching skillfully weaved in cultural and historic information by creating characters fond of photography - a photographer and a movie fan, both of which are metaphors. This paper attempts to investigate the symbolism and effects of still and moving photography in these two novels by dissecting the fictional roles of photographer Fan Xiang Yi Ming and movie fan Wang Zhan Zhu. Furthermore, this paper explores how the metaphor of photography, photographer and the audience are emphasized by using symbols from Shin Qang's photo studio 'Er Wo' (double or sophisticated self identification) and the photography discourse, along with techniques of how photography had been used in movies. Photography encourages debates on reality, while movies' extended perspectives provide audiences with new views. The application of photography in Shih Shu-ching's novel fits well into the chaotic Taiwanese culture and commoners' entertainment during the Japanese colonial period; in addition, it amplifies the imaginations of 'er wo' for various flavors of 'Taiwanese' (Han, Aboriginal, Hakka, and Taiwan-born Japanese).