城市‧記憶‧家園

Tunghai University Institutional Repository > 創意設計暨藝術學院 > 美術學系所 > 碩士論文 > Item 310901/24193

Please use this identifier to cite or link to this item: http://140.128.103.80:8080/handle/310901/24193

Title:	城市‧記憶‧家園
Other Titles:	City ?Memory?Homeland
Authors:	莊皓然 Chuang, Hao-jan
Contributors:	張惠蘭 Chang, Hwei-Lan 美術學系
Keywords:	影像裝置;文件;家園;地方;城市記憶 Image Installation;Document;Homeland;Place;Urban Memory
Date:	2013
Issue Date:	2014-02-21T02:01:22Z (UTC)
Abstract:	本論述以個人2009年至今的創作計畫為研究對象，分就計畫動機、目的、計畫執行與相關學科論述，以及攝影史、文化地理學之對應為闡述內容，藉由本文的梳理剖析創作與自身，完備個人對於創作面向之研究。首章緒論，就創作之動機與目的進行闡述，說明創作緣起，及企圖使創作帶予觀者與自身何種可能。並於研究範圍與方法，對論述範圍與路徑作系統性的略述。第二章，以攝影史中的地誌為題，探討地景攝影觀念上的轉變，並試圖以影像理論與文化地理學補充，從中梳理個人創作上之脈絡。第三章，城市筆記，開始先以西方都市學說鋪陳現代都市的原型，後復返臺中現況，從中談起我對於台中的切身觀察。藉由觀察，文化經驗、推敲，挖掘隱身於大城市中的舊有記憶，並援引攝影理論作為創作上的輔助，對照攝影史，思考自身攝影觀念之轉變。第四章則分別以同一脈絡下發展的作品《城市切面》、《1945年6月的某夜之後》、《幸福菜園》、《日常檢視》以及從2007年起持續發展的作品《家庭肖像—母女》，在作品裝置與影像觀看上討論之；並於第五章以歸結先前三章在攝影媒材、城市空間與記憶連結上，對於個人創作歷程之影響，並就現階段之創作結論。 For this research,personal creations from 2009 to date are used as the research objects and consequently divided into project motivation, purpose, implementation, and relevant discipline discourses, in addition to applying the history of photography and corresponding cultural geography to the content of expounding. This paper intends to improve personal study on creation dimensions through the organization and analysis of the works and the author personally.The first chapter refers to the introduction that expounds into the motivation and purpose for creation, describing the origin of creation and the intention to introduce the possibilities of creations to the viewer and the author. In particular, the scope and methods of research involve institutional overview on the scope of discourse and paths. Next, chapter two emphasizes on the topology in the history of photography by analyzing the transformation in photographic concepts, inattempt to supplement through image theories and cultural geography for organizing the context of personal creations. Furthermore, chapter three refers to the urban notes that describe the prototype of modern cities through Western urban theories,followed by the overview of Taichung, to discuss the author’s personal and close observation of Taichung. Consequently, the author observes, infers and discovers the existing memories on metropolitans through cultural experience, in addition to quoting theories of photography and reflecting the self transformation in photographic concepts in response to the history of photography. Moreover, chapter four discusses the work device and concept of image through the works developed under the same context, namely “Urban Facets,” “One night in June, 1945,” “The Garden of Happiness,” and “Daily Reflection,” as well as continuous development of works from 2007, the “Family Portrait – Mother and Daughter.” Finally, chapter five summarizes the previous three chapters and the impact of photographic materials, urban space and memory connection on personal creation course, in addition to discussing the creations at the current stage.
Appears in Collections:	[美術學系所] 碩士論文

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