On the Photography Practice of the City Transitional Space Movers in Taiwan after World War II (1960s-1980s)
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.
|關鍵詞||攝影、複視性、城市過渡性空間、移行者、實踐、photography、multiple visions、transitional space of city、mover、practice|