尋找張乾琦: 穿越《我願意》、《鍊》、《囍》的幻見

Abstract

本文以斯拉維．紀傑克對幻見的闡釋來閱讀張乾琦三本攝影書《我願意》、《鍊》、《囍》中的攝影作品。不同於一般評論者著重討論展覽中的照片，本文的研究對象是攝影書中的照片，將之視為檔案。攝影書本身所提供的閱讀脈絡主要來自張乾琦個人的立場與關懷，企圖將影像重新脈絡化而賦予影像意義。

過去對張乾琦攝影作品的討論著重於鍊的隱喻，但並未深入探究此隱喻背後的意義，這或許與討論未被脈絡化有關。本文企圖從攝影書提供的脈絡來分析張乾琦的作品，一方面讀出其作品的主題，看他如何藉由此主題來回應所關懷的議題，以攝影影像對社會作症狀式閱讀，穿越社會幻見並挑戰拍攝照片的幻見；另一方面，在讀出此主題時，也企圖貼近張乾琦作品的核心，看他如何耕耘其影像領域，並在此過程中試圖回應其自身的問題。

This thesis studies the photographic works of Chien-Chi Chang in his three photobooks I Do I Do I Do (2001), The Chain (2002) and Double Happiness (2005) with Slavoj Žižek’s notion of fantasy. Instead of focusing on the photographs in exhibitions, the main text here is the photographs in the photobooks, which are considered as archive. Formed by Chang’s own concerns, the photobooks re-contextualizes the photographs so as to extract the meaning of the images.

The previous commentaries on Chang’s photographs emphasized on the chain metaphor but stopped while shedding light on it without careful discussion. This research analyzes Chang’s photographs within the context provided by the photographic books. Firstly, it studies the theme of Chang’s works to see how he does the symptomatic reading towards the society with the photographic images, in which he traverses the social fantasies and challenges the fantasy of taking photographs, so as to present his concerns. Secondly, it aims at accessing to the core of Chang’s works to see how he cultivates his territory of images and reflects on his own questions in the process of photographing.