從攝影探究家的意象—以臺灣攝影家及離鄉者的照片為例

Abstract

家是人生命中最重要的地方，家的研究在臺灣視覺藝術領域逐漸受到關注，呈現在攝影、紀錄片及電影等面向。然過去的探討多以藝術家的作品為主，較少針對一般民眾的家庭攝影照片進行家的研究，家庭攝影是實踐廣泛的攝影類型，且對人具有獨特心理意義，應可作為探究人對家的觀點之研究材料。因此，本研究希冀透過攝影家與民眾代表家的照片，探尋離鄉者家的意象。離鄉者的身分聚焦在少數族群中的原住民與新住民配偶，選擇了攝影家關曉榮的原住民離鄉者作品《八尺門—再現 2%的希望與奮鬥》、侯淑姿的新住民配偶離鄉者作品《望向彼方—亞洲新娘之歌》，以及原住民和新住民配偶離鄉者作為研究參與者，透過照片引談法進行深度訪談，並針對攝影家與離鄉者的照片進行詮釋與分析，研究結果顯示：

一、攝影家與離鄉者透過家人、與家人共同的經驗、家屋、重要物件與特殊事件之照片代表家。而照片中所蘊含之家的意象，以家人與關係網絡為主體，家屋的佈置與重要物件反映出人的情感與認同，不同世代間的相聚和陪伴經驗，建構了家的集體記憶，且家的意象中隱含著家庭文化與儀式展演。這些照片是家對個體形成的心理印跡，呈現出與家人、親戚、朋友、寵物以及地方之間，深刻的連結關係。

二、研究參與者透過離家的經驗思考家對個人的意義，共同道出以下經驗內涵與心路歷程： （一）偶然契機啟動離鄉生命；（二）差異衝突學習調適成長； （三）在家的真實我與責任我；（四）親人與情緒牽動家思念； （五）通訊網絡縫合離散裂隙；（六）人生經歷引發意義轉變。

三、研究參與者家的意義建構是一個變動性的意義形成歷程，受到人生發展階段與重要事件的影響，研究參與者認為最重要的家意義為：家是家人及與家人的關係。另外，家也是安全感的基地、心靈的庇護所，家反映人的想法與價值觀，是傳承創新與永恆，也是自我及自我認同。四、研究參與者在遷移互動歷程中所形成的，對於家的認同與歸屬，具有層次上的不同，包括三種形式：完全以原生家庭為主；以原生家庭為主，現在的家次之；以現在的家為主，夫家、原生家庭或妻家家庭次之。且研究發現家認同與歸屬感的建立，與對地方的依附、社會網絡關係、被愛與被認同感、主控權與住宅所有權有關。

五、攝影家與研究參與者照片中家的意象相似處為：對子輩的情感與關心、家人關係的相處學習、與家人朋友歡聚之情、與故鄉的連結和關係、習俗信仰的心靈支持、在地與無地的家轉換。兩者的相異點為：經濟背景的差異、家的矛盾與衝突、長輩的照顧內涵、父母的親職角色、子女的教養方式、家屋的內在轉變。Home is the most important place in human life. Research on the topic of “home” has gradually attracted attention in the field of visual arts in Taiwan, in various aspects such as photography, documentary, and films. However, in the past, most of the discussions focused on the works of artists, and less on the domestic photography of ordinary people. Domestic photography is a widely practiced type of photography , and has unique psychological significance for people. It should be used as research materials to explore people’s views on home. Therefore, this research hopes to explore the image of home of migrants through the photos of photographers and people.The focus of this study is minorities including aboriginals and foreign spouses. This paper selected the photography works of Taiwan photographers Guan Xiao-rong’s work on migrating aboriginals “Bachmin: Return to the Hope and Struggle of the Two Percent”, and Hou Shur-tzy’s work regarding foreign spouses “Look towards the Other Side: Song of Asian Foreign Brides in Taiwan''. The participation of Migrated aboriginals and foreign spouses are included. In-depth interviews were conducted throughthe photo-elicitation method, and photographs were interpreted and analyzed. This study found:1. Photographers and migrants represent home through photos of family members, common experiences with family members, houses, important objects and special events. The images of homes contained in the photos are mainly based on family and relationship networks. House decoration and important objects reflect people's emotions and identity. The experience of gathering and companionship between different generations constructs the collective memory of the family, and the image of home implies family culture and ritual performances. These photos are the psychological imprint of the home on the individual, showing a deep connection with family, relatives, friends, pets and places.2. Through the experience of leaving home, the study participants shared the following experience connotation and mental processes: (1) Accidental opportunity to start their life away from home. (2) Learning, adjusting and growing in the presence of conflicting differences. (3) At home, reflect on the real self and the responsible self. (4) The condition of family members and personal emotions affect their homesickness. (5) Communication networks stitch together discrete fissures. (6) Lifeexperience leads to a change in the meaning of home.3. The construction and meaning of home is a changeable process of meaning formation, which is influenced by life development stages and important events. The meaning of home considered by the participants includes: (1) Home is family and the relationship with family. (2) Home is the base of security. (3) Home reflects ideas and values. (4) Home is inheritance, innovation and eternity. (5) Home is the sanctuary of the soul. (6) Home is self and self-identity.

4. In the process of migration and interaction, the research participants formed different levels of identification and belonging to family, including three forms:(1) It is completely dominated by the original family.(2) It is mainly based on the original family, and the current family is secondary.(3) The current family is the mainstay, followed by the husband’s family, theoriginal family or the wife’s family.The research finds that the establishment of home identity and sense of belonging is related to the attachment to the place, relationship with one’s social network, the sense of being loved and recognized, and ownership and control of the house.5. The similarities between the images of home in the photos of the photographers and the research participants are: affection and concern for their children, learning from family relationships, the joy of gathering with family and friends, connection and relationship with their hometown, spiritual support of customs and beliefs, and conversion from home with local characteristics to home without local characteristics. The differences between the two are: differences in economic background, contradictions and conflicts in the family, the care connotation of the elders, the parental role of parents, the way of upbringing children, and the inner changes of the house.