戰後臺灣（1960-1980）城市過渡性空間移行者的攝影實踐初探

On the Photography Practice of the City Transitional Space Movers in Taiwan after World War II (1960s-1980s)

現代城市的興起，是探究戰後臺灣攝影史的重要面向。本文嘗試聚焦於此面向，以攝影本身為問題意識，藉由觀察者主體的多重視角、城市客體的複雜面貌，以及複數影像材料，這三個角度延伸出的「複視性」攝影觀點，探究1960至1980年代的城市過渡性空間移行者，如何通過城市移行體察，發展出殊異的攝影實踐方法。首先，以黃則修《龍山寺》與梁正居《臺灣行腳》為例，論述觀視位置流變與結合他者視線之實踐，展現的攝影觀與特殊性；其次，以街頭抗爭的攝影者立場為線索，解析關曉榮《尊嚴與屈辱：國境邊陲．蘭嶼》計畫中的多重身份轉換，形構出的影像張力場；最後，探析張照堂的城市系列影像，關注具現代意識的攝影實踐與時代所產生的共振效果。研究發現，此時期臺灣攝影者展開的移行策略，不僅在藝術的邊界上召喚出城市過渡性空間攝影的潛能，並孕育了足以直面當代的實踐方法。

 

The rise of modern cities suggests an important aspect of exploring the history of Taiwanese photography after World War II. With the focus on photography as the problematic consciousness, the study explores the multiple perspectives of the observers, the complex aspects of the city as the object, and the plural image materials. The above three angles can be further extended to the photography perspective, that is, “multiple visions,” and then can be used to explore how the Taiwanese movers from the 1960s to the 1980s could develop a singular photography practice through their moving in the transitional space of city. The arguments of the study are three: first, taking Huang Tse-Hsiu’s Longshan Temple and Liang Cheng-Chu’s Taiwan’s Footprint as examples of the study, the researcher discusses the becoming of viewing positions and the practice of and with the Other’s view, showing the concept and particularity of photography. Second, the study takes the street protest position as a clue to analyze the multiple transfer of identities from Guan Xiao-Rong’s project, Dignity and Humiliation: A Marginalized Territory in Lanyu, which exposes the field of tensions from the photography images. Finally, the study explores Chang Chao-Tang’s city series of photography by focusing on its practice and the resonating effects evoked by the epoch. The study discovers that the Taiwanese photographers of this period have developed a variety of moving strategies in the transitional space of city, and they are capable of calling forth the puissance of the photography in its transitional space, which is pregnant with the capability vis-à-vis the contemporary practice methods.