自我注視／監視的奇觀：1840-1880年間法國攝影師自拍像

Abstract

本文旨在透過1840~1880年間法國攝影師自拍像，探究其個人再現與攝影實踐，以及他們如何藉此與社會溝通，形塑其身分認同。鑑於過去早期自拍像研究受限於作者論觀點，側重影像的技術革新與形式美感，忽略攝影的媒體本質，及其獨特的觀看機制和接受脈絡如何對影像製作與符號指涉發揮作用。本文將結合後結構主義和視覺文化觀點，透過社會學式的歷史考察與文獻分析，重構早期攝影師紛雜、多變的社會身分，突顯其在現實與再現、社會與自我認同之間的衝突與相應，為面貌殊異的早期自拍像提出一套建立在攝影初始，正反論述交織、彼此對話的詮釋架構，主要是在：技術／藝術、公／私、職業／業餘、意欲／意外等四個端點之間相互擺盪、滑移，形成一充滿張力的多重論述網絡。 第一章以Félix Nadar等博學攝影家為例，闡述早期攝影在技術與藝術上的交會。攝影雖因機械複製性與藝術對抗，卻也為科學家和藝術家建立新的合作關係，使肖像意涵與再現模式重獲省視、發生轉變，傳統肖像語彙的借用，為早期攝影師在布爾喬亞與波西米亞文化品味之爭中尋得雙贏可能。第二章以Hippolyte Bayard、Victor Hugo、Castiglione女伯爵為例，說明系列自拍像成為早期攝影者施展權利、主張自我的媒介，攝影加速個人意識的傳播，公與私領域的界線重新分野，自拍像由公眾形象的塑造過渡到私密性的揭露，展現變換自如、奇觀化的自我扮演。第三章對照商業攝影師Disdéri和業餘攝影家Olympe Aguado，呈顯早期攝影者社會角色和攝影實踐的多元與流動性。當時自拍像雖不乏新意，然在商業實用取向下難逃單調重複，又以名片卡肖像最能體現早期攝影師發達之夢下的取捨。第四章以達蓋爾版和現存少數意外影像為例，闡述早期攝影混雜真實與幻覺、自然與人造的對立概念。攝影兼具現實自身與其再現的媒材屬性，模糊了西方自來以圖像作為真實之鏡的再現框架。框架破除的意外影像在19世紀末遂成一大眾娛樂，影像透過現實的擷取向觀者提出意義，自拍像不再受過去單一、靜態、內聚的景框所限，開始朝向多元、動態、外推的界外之域，突顯影像作為現實切片的無盡連續和意義的開敞性。 早期自拍像投射出多重、矛盾的分裂主體，19世紀下半葉人們雖主張是獨立個體，實受社會框架定義，其自我再現看似複多，實則單一。攝影師轉從影像框架觀看自身，從而衍生無數我的分身，攝影造就複多卻類型化的百變自我，亦應合片段、偶然、瞬時即逝的現代美學觀。早期自拍像無異是攝影、自我、現代性等三個論述軸線交集於西方現代晚期的有力論域。The purpose of the dissertation is to investigate the photographic self-portraits and practice of early French photographers, 1840-1880, and to probe into how they identify and fashion themselves through these images. The discussion of early self-portraits has been confined to technical innovation and formal analysis, and the spectatorship and receptive context of these images have been neglected. With poststructuralist perspectives on subjectivity and photography’s discursive spaces, the research tends to reconstruct varied and mobile roles of early photographers through historical investigation, and to manifest the contest and conformity between their social roles and self-imagery. It aims to examine these conflicting self-representations based on multiple, and seemly contradictory origins of early photographic discourses, mainly the debates of science vs. art, publicity vs. privacy, photographers vs. amateurs, and the artificial vs. the unintended. The first chapter focuses mainly on Félix Nadar and some erudite scientists whose self-portraits exemplify early photography as an art medium as well as its use in scientific practice. The second chapter analyzes the self-portrait series of Hippolyte Bayard, Victor Hugo, and Comtesse de Castiglione as fictionalized autobiographies to assert themselves by publicizing their private lives. In the third chapter, the contrast of A. A. E. Disdéri and Olympe Aguado provides the focus of a reexamination of versatile photographic practice and social roles of early photographers, which make their self-portraits paradoxically artistic and commercial, innovative and repetitive. The fourth chapter explores Daguerre’s daguerreotype portraits, which trace the duality of reality and illusion in early photographic discourse. Few remaining unintended images blurring the inside and outside of the picture frame have turned out to be recreational spectacles in the second half of the 19th century, which unfold the contingent and mobile nature of modern realities. The contradictory selves revealed in the self-portraits address modernity of the discrepant self/subject in the fin-de-siècle. As metteurs-en-scène, early photographers create numerous but unitary doubles through these images. The study on the photographic self-portraits of early French photographers demonstrated the discourses of photography, self, and modernity interweaving in the late modern period