攝影社會史專題研究
Seminar on Social History of Photography
學期
113-1
學分
3
學分
當期課號
133303
永久課號
SHVC30012
開課單位
視覺文化研究所
授課教師
劉瑞琪
校區
陽明
類別
選修
上課時間表
| 節 | 週三 |
|---|---|
5 13:20–14:10 | 攝影社會史專題研究 YX322 3 節連堂 |
6 14:20–15:10 | |
7 15:30–16:20 |
* 根據陽明交大上課時間表所列
概述
詳細課程綱要將在課堂提供
先修科目
無
教學方式
本課程將探索從1830年代迄今,在歐美現代性與後現代性的發展歷程中,攝影意象的社會功能與實踐。課程一方面將探討在各種複雜矛盾的藝術、大眾與社會機制與文化當中,各種攝影的類型(如肖像、人體、家庭、街頭、旅行、城市、紀實、報導、戰爭、名人、前衛藝術等等)與意象的社會議題。課程另一方面將關注與從權力的角度,來探索攝影如何成為各種權力銘刻的場域,以反映、加強、重塑與反抗主宰的性別、階級、種族、性傾向等意識形態。 這門專題課程將以探討攝影社會史中的重要與前瞻議題為主,但仍會在師生進行論文深入研討之後,搭配影像的powerpoint,一方面由教師講授較為基礎與廣泛的攝影史知識,另一方面由學生練習攝影圖片的識讀。這門課程的目標將透過閱讀、觀看、討論、口頭報告、書面報告等等,訓練學生運用課堂所學的理論與觀點,發展自己具有開拓性與創新性的分析與研究能力。
評分方式
1. 課堂口頭報告20% 2. 課堂參與討論20% 3. 期中報告(3000-5000字,為期末報告的雛形)10% 4. 期末口頭報告10% 5. 期末報告(10000字左右)40%
週次計畫
| 週次 | 主題 |
|---|---|
| 第 1 週 | 簡介:攝影社會史專題 |
| 第 2 週 | Early Photographic Portraiture: A Democracy of the Image vs. Social Surveillance 課堂讀本: John Tagg著,周韻譯,〈影像的民主:肖像照和商品生產〉&〈監控手段:照片即法律證據〉,《表徵的重負:論攝影與歷史》(重慶:重慶大學出版社, 2018),頁1-27, 35-79。 推薦讀本: Geoffrey Batchen著,毛衛東譯,〈圖像〉,《熱切的渴望:攝影概念的誕生》 (北京:中國民族攝影藝術出版社,2016),頁145-223。 |
| 第 3 週 | Children’s Portraits and the Politics of Difference: Lewis Carroll, Julia Margaret Cameron, and Sally Mann 課堂讀本: Shannah Ehrhart, “Sally Mann’s Looking-Glass House,” in Tracing Cultures: Art History, Criticism, Critical Fiction (New York: Whitney Museum of American Art, 1994), pp. 52-69. Carol Armstrong, “Cupid’s Pencil of Light: Julia Margaret Cameron and the Maternalization of Photography,” in October, 76 (Spring, 1996), pp. 114-41. 【只選讀 pp. 114-26, 137-41.】 推薦讀本: Diane Waggoner, “Liddle Girls: Alice and Her Sisters,” & “In Fairyland: Partial Dress and the Nude,” in Lewis Carroll’s Photography and Modern Childhood (Princeton: Princeton University Press, 2020), pp. 77-111, 183-221, 239-42, 248-52. |
| 第 4 週 | Photographs and/as Fetish: The Countess de Castiglione (1837-1921) 課堂讀本: Christian Metz, “Photography and Fetish,” in October, 34 (Fall 1985), pp. 81-90. 【Christian Metz著,徐晶譯,〈攝影與物戀〉,《上帝的眼睛:攝影的哲學》(北京:中國人民大學出版社,2005),頁 79-90。】 Abigail Solomon-Godeau, “The Legs of the Countess,” in Fetishism as Cultural Discourse, ed. Emily Apter and William Pietz (Ithaca and London: Cornell University Press, 1993), pp. 266-306.【只選讀pp. 266-84, 305-06.】 |
| 第 5 週 | Urban Photography and Modernity: Henri Le Secq, Adolphe Braun, Edouard-Denis Baldus, Charles Marville, and Eugene Atget 課堂讀本: Shelley Rice, “Parisian Views,” & “Still Points in a Turning World,” in Parisian Views (MA and London: The MIT Press, 1997), pp. 30-117, 227-31. 【選讀pp. 48-82(文字16頁), 84-117(文字18頁).】 Marina Warner, “Atget Paris Phantom,” in The New York Times, April 11, 1993. (https://www.nytimes.com/1993/04/11/books/the-paris-of-phantoms.html) |
| 第 6 週 | The Politics of Pictorialism: Queer Affects 課堂讀本: Shawn Michelle Smith, “The Politics of Pictorialism,” in At the Edge of Sight: Photography and the Unseen (Durham and London: Duke University Press, 2013), pp. 39-71, 226-235. 推薦讀本: Elspeth H. Brown and Thy Phu, “Introduction,” in Feeling Photography (Durham and London: Duke University Press, 2014), pp. 1-25. Elspeth H. Brown, “De Meyer at Vogue: Commercializing Queer Affect in WWI-era Fashion Photography,” in Photography and Culture, 2: 3 (November 2009), pp. 253-74. |
| 第 7 週 | The American Documentary Tradition: From Jacob Riis, Lewis Hine to Dorothea Lange, Walker Evans 課堂讀本: Wendy Kozol, “Madonnas of the Fields: Photography, Gender, and the 1930s Farm Relief,” in Genders, 2 (Summer 1988), pp. 1-23. Sally Stein, “Passing Likeness: Dorothea Lange’s ‘Migrant Mother’ and the Paradox of Iconicity,” in Only Skin Deep: Changing Visions of the American Self (New York: International Centre of Photography, 2004), pp. 344-55. 推薦讀本: Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (New York: Cambridge University Press, 1989). |
| 第 8 週 | Modernism: A Social Dimension 課堂讀本: Roberta McGrath, “Reading Edward Weston – Feminism, Photography, and Psychoanalysis,” in The Photography Reader, ed. by Liz Wells (New York, London: Routledge, 2003), pp. 327-37. 劉瑞琪,〈以相機為武器:蒂娜.摩多提的革命攝影〉,《國立台灣大學美術史研究集刊》,第三十四期(2013年3月),台北:國立台灣大學藝術史研究所,頁163-228。 |
| 第 9 週 | The Surrealist City and War 課堂讀本: Ian Walker, “Chapter 3: Nadja: A‘Voluntary’ Banality,” in City Gorged with Dreams: Surrealism and Documentary Photography in Interwar Paris (Manchester: Manchester University Press, 2002), pp. 48-67. 劉瑞琪,〈陰性崇高:黎.米勒的戰爭攝影〉,《文化研究》,第十七期(2013年秋季),台北:遠流,頁87-122。 推薦讀本: Marja Warehime, Brassai: Images of Culture and the Surrealist Observer (Baton Rouge: Louisiana University Press,1996). Craig Owens, “Photography ‘en abyme,’” in October, 5 (Summer 1978), pp. 73-88. |
| 第 10 週 | Undercurrents of Urban (Post-)Modernism: Drag Subcultures from the 1920s to the 1990s 課堂讀本: Judith Halberstam, “Queer Faces: Photography and Subcultural Lives,” in Visual Culture Reader. 3rd Edition, ed. Nicholas Mirzoeff (NY: Routledge, 2012), pp. 96-108. 【許顓頊的中譯:https://www.douban.com/note/794452607/】 Wanda Corn and Tirza True Latimer, “Becoming Gertrude and Alice,” & “Dress,” in Seeing Gertrude Stein: Five Stories (Berkeley: University of California Press, 2011), pp. 62-80, 82-91, 342-44. 推薦讀本: Jennifer Blessing, ed., Rrose is a Rrose is a Rose: Gender Performance in Photography (New York: Guggenheim Museum, 1997). |
| 第 11 週 | Urban Photojournalism 課堂讀本: 劉瑞琪,〈海倫.勒薇的女性漫遊攝影〉,《中外文學》,第39卷,第2期(2010年6月),台北:國立台灣大學外國語文學系,頁91-141。 Miles Orvell, “Weegee’s Voyeurism and the Mastery of Urban Disorder,” in American Art, 6: 1 (Winter 1992), pp. 18-41, rpted. After the Machine: Visual Arts and the Erasing of Cultural Boundaries (Jackson, Mississippi: University of Mississippi Press, 1995), pp. 71-96. |
| 第 12 週 | Contemporary Documentary Photography: Alienation and Politics I 課堂讀本: Leslie Baier, “Visions of Fascination and Despair: The Relationship between Walker Evans and Robert Frank,” in Art Journal, 41: 1 (Spring 1981), pp. 55-63. Sarah Greenough, “Transforming Destiny into Awareness: The Americans,” & “Blowing Down Bleeker Street: Destroying The Americans,” Looking In: Robert Frank’s The Americans (Washington, DC: National Gallery of Art, 2009), pp. 176-89, 314-323, 347-51. |
| 第 13 週 | Contemporary Documentary Photography: Alienation and Politics II 課堂讀本: Frederick Gross, “The Body in the 1960s,” in Diane Arbus’s 1960s: Auguries of Experience (Minneapolis, MN: University of Minnesota Press, 2012), pp. 97-131, 225-28. 推薦讀本: Susan Sontag著,黃燦然譯,〈透過照片看美國,昏暗地〉,《論攝影(1973)》(台北:麥田出版,2010),頁57-87。 |
| 第 14 週 | Ethical Dimensions of Documentary Photography 課堂讀本: Susan Sontag著,陳耀成譯,〈旁觀他人之痛苦〉,《旁觀他人之痛苦》(台北:麥田,2004),頁13-146。 推薦讀本: Martha Rosler, “In, Around, and Afterthoughts (on Documentary Photography),” in The Contest of Meaning: Critical Histories of Photography, ed. Richard Bolton (Cambridge, MA and London: The MIT Press, 1989), pp. 303-41.【選讀pp. 303-25.】 |
| 第 15 週 | Contemporary Photography and Identity Politics 課堂讀本: Richard Meyer, “Robert Mapplethorpe and the Discipline of Photography,” in The Lesbian and Gay Studies Reader, ed. Henry Abelove, Micehele Aina Barale, and David Halperin (New York and London: Routledge, 1993), pp. 360-80. 劉瑞琪,〈魅力四射的敢曝:南.戈丁1970年代初期的變裝皇后攝影〉,《藝術學研究》,第29期(2021年12月),頁 119-77。 |
| 第 16 週 | 期末口頭報告 |
教科書
與課程綱要所列相同
Office Hours
- 地點
- 知行樓322會議室
- 聯絡方式
- Phone: 67207 E-Mail: liujc@nycu.edu.tw