[ 摘要 ]

紀實攝影一直存在著「如何為他者代言」的問題與爭議，本論文以關曉榮八○年代末於蘭嶼所拍攝的一系列攝影作品為討論對象，從這些拍攝達悟人的生活、傳統文化與政治抗爭的影像裡，探討一個非原住民的攝影者如何介入原住民的族群中，再現他們的形象。在抗議核廢料的青年與被強迫接受漢化教育的兒童身上，作者形塑呼喚認同的影像，他在影像內外積極地介入與佔據位置，顯示為無權者發言的企圖。但是另一方面，他藉由拍攝觀光客手上的相機照見自我工作的反省，並藉由形塑達悟人從事傳統勞動工作的與自然密切結合的形象，來拒絕傳統美化原住民的圖像，這些都顯露出他對於如何再現原住民的深切反思。這裡充斥著「既……又……」的矛盾交雜，可以象徵原漢之間的長久以來的殖民侵略關係中，關曉榮在身為壓迫者一方中，以一種出自個人的、較為自覺的創作態度，在作品中展現出向弱勢者認同、試圖貼近的凝視與反省。面對紀實攝影剝削弱者、成就自我的道德難題，這些不斷地擺盪在介入╱反省之間的影像，透露出一個攝影工作者可能面臨的自我辯證與焦慮。透過深度地閱讀文本，筆者藉這本論文肯定一個有自覺的紀實攝影工作者在台灣攝影史的重要性，也為當代台灣攝影研究展現更多意義詮釋的可能性。



[ 英文摘要 ]

There is always an argument about “how to speak for the other” in documentary photography. This thesis focuses on Guan Xiao-Rong’s photographs of Lanyu in the late 1980s. From these images of life, traditional culture, and political resistance of Tao’s people, I want to explore how a non-aboriginal photographer intervenes in an aboriginal race and represents their images. I will discuss that Guan, in his works, tries to identify with young persons who protest the problem of nuclear waste shipment, and with children who are forced to accept Han’s education system. He attempts to reflect himself by those photographs that shoot the tourists shooting the aboriginals. He also produces ideal images of Tao’s people working and living in a traditional way. In these images, Guan tries to reject the violent behavior of tourists and represents a kind of aboriginal images differing from some ethnic stereotypes. In the other words, a colonial gaze in most of the aboriginal photographs in Taiwan does not appear in Guan’s works. He tries his best to represent them seriously in every series of his works. Hence, although Guan is one of Han, he shows his identification with the unprivileged aborigine by a self-reflexive attitude. Many critics address that documentary photography always exploits victims, such as aboriginal people, just for achieving the photographer’s personal business. Facing this moral dilemma, Guan shows his ethical concern of the aboriginal people through displaying his anxiety and self-examination. I want to emphasize that this is the most important characteristic of Guan’s works. Through reading Guan’s works deeply, I think highly of such a self-conscious documentary photographer in the history of photography of Taiwan.