攝影詭異與黛安‧阿勃斯作品

Abstract

本論文關注美國攝影師黛安‧阿勃斯(Diane Arbus, 1923-1971)攝影作品中的詭異性質，利用發展攝影的詭異樣態，進而詮釋阿勃斯的攝影實踐。理論根據來自於耙梳佛洛依德(Sigmund Freud, 1856-1939)〈詭異〉論述之來源與延伸，並實行詭異與智識不確定(intellectual uncertainty)、分身(double, doppelgänger)等概念之間的交互辯證。論文結構以第一章為緒論。第二章進入〈詭異〉之核心，探究「泛靈信仰」、「閹割情結」等詭異之原型，澄清分身、無意識重複、失明恐懼等元素內容。第三章將理論延續、擴展成攝影詭異的兩種類型，並輔以攝影魔術特徵之發展脈絡相互呼應。第四章則藉由地景、人物、攝影本質等三個不同子題，從拍攝手法、主題與意圖等層面闡明阿勃斯攝影肖像的詭異性質。

This thesis concerns on the uncanny in Diane Arbus’s photographic works. By developing the photographic uncanny, its purpose is to interpret Arbus’s works. The theoretical basis stems from Sigmund Freud’s The ‘Uncanny,’ in which I will analyze some crucial concepts, including Ernst Anton Jentsch’s intellectual uncertainty, and Otto Rank’s doppelgänger. Chapter one is the introduction. In chapter two, I investigate into The ‘Uncanny’ and inquire two major archetypes of the photographic uncanny: animism and the castration complex. In chapter three, in order to construct the photographic uncanny, the “magic” idea of photography is referred to and connected to both visual and historical proofs. Finally, in order to explore the uncanniness of Arbus’s photo works, chapter four is divided into three different but strongly related sections, demonstrating the uncanny through topics of landscape, portrait, and the essence of photography.