Professional Documents
Culture Documents
ii
Abstract
There is always an argument about how to speak for the other in
documentary photography. This thesis focuses on Guan Xiao-Rongs photographs of
Lanyu in the late 1980s. From these images of life, traditional culture, and political
resistance of Taos 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 Hans education system.
He attempts to reflect himself by those photographs that shoot the tourists shooting
the aboriginals. He also produces ideal images of Taos 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 Guans 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 photographers
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 Guans works. Through
reading Guans works deeply, I think highly of such a self-conscious documentary
photographer in the history of photography of Taiwan.
Keywords:
Guan Xiao-Rong, Lanyu (The Island of Orchid), Tao, documentary photography,
photojournalism, aborigine, The other, self-reflection, identity, the image of children,
tourist imperialism, stereotype
iii
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91 2000 4
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Susan Sontag,
1997
Roland Barthes,
1997
John Pultz,
1997
Walter Benjamin,
1998
John Berger,
1998
80
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1999 12 6-7
22
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Victor Burgin
23
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24
Andr BazinRoland Barthes
25
1977
26
23
24
25
26
Victor Burgin, Looking at Photographs, in Thinking of Photographs, ed. Victor Burgin (London:
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Andr Bazin,
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sublimated murder
Roland Barthes
27
28
objectsignifiersignified
29 Rosalind Krauss
30
27
28
29
30
indexsymbol
--
1999
122-151
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1995
155
10
signification
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32
33
80
34
31
11
Richard
Bolton
35
Linda Nochlin
styleless
transparent
36
Martha Rosler
Allan Sekula
37
35
36
37
Richard Bolton, Introduction, in The Contest of Meaning, ed. Richard Bolton (Cambridge,
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Linda Nochlin,
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5
Richard Bolton, Introduction, p. xvi.
12
1987
1987
13
documentary photography
photo-journalism
38
39
-Abigail Solomon-Godeau
Naomi RosenblumWalker
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40
41
38
39
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41
photo-essay
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42
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16
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frame
46
46
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47
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autonomyauthority48
47
48
Victor Burgin, Looking at Photographs, pp. 147; Kaja Silverman, The Subject of Semiotics
(New York: Oxford University Press, 1983), pp. 157-158.
Victor Burgin, Looking at Photographs, p. 152.
20
2 349
full front
49
16 1996 5
9
21
50
1
50
Wolfgang Kemp, The Work of Art and Its Beholder, in The Subjects of Art History, ed. Mark A.
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p. 187.
22
51
52
51
52
David Bate, The Occidental Tourist: Photography and Colonizing Vision, in Afterimage
(Summer, 1992), pp. 12-13.
6
215-218
23
1988 2 20
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53
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1974
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54
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55
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138 2000 12
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1998
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1990
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141
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61
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59
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60
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58
25
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2001 1 24 -25
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221
26
67
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10
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1994
166-173
27
68
69
70 5
Paula Rabinowitz
71
68
69
70
71
1987
8-9
8-9
1985 11 2
27-31
Paula Rabinowitz,
2000
71
28
72
73
Fernado
Borri
74
75
72
73
74
75
27-31
Julianne Burton
1996
20
Julianne Burton
20
29
1987
76
76
Henri-Cartier Bresson
Robert
Doisneau
Colin
Westerbeck, Joel Meyerowitz, Bystander: A History of Street Photography (Boston: Bulfinch,
1994 ) , p. 264.
30
77
77
Anne Higonnet, Pictures of Innocence (New York: Thames and Hudson, 1998), p. 7.
31
Benedict
Anderson
32
78
16
78
Benedict Anderson2001 2
18 -19
23
33
Michel Foucault
79
1930
80
79
80
Michel Foucault,
1993
195-227
1895-19372000
9-19
1895-1937
34
34
Louis Althusser
81
82
81
82
Louis Althusser,
1989
163-164
Louis Althusser,
151-206
31 1998 9
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35
83
1084
85
1978
83
84
85
9-11Robert Bocock,
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1929
70
Shawn Michelle Smith, Photographing the American Negro: Nation, Race, and Photography at
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36
86
1978
20
87
12
88
89
86
87
88
89
4 1994 5
66-81
1991
142
145-150
145-150
37
13
7
7
14
38
15
ideal childhood
90 Anne Higonnet
18
91 Calvin Bendient
92
90
91
92
Peter Burke, Eyewitnessing: The Use of Images as Historical Evidence (London: Reaktion, 2001),
pp.104-108.
Anne Higonnet, Pictures of Innocence, pp. 7-12.
Calvin Bendient, Childish Pleasure, in Art in America, 87: 2 (Feb 1999), pp. 35-37.
39
Dorothea Lange
93
20
Jacob
Riis
94
Lewis Hine 1909
30
95
30
93
94
95
Vicki
Goldberg, Lewis W. Hine, Child Labor, and the Camera, in Lewis W. Hine: Children at Work
(New York: Prestel, 1999) , pp. 7-20Vicki Goldberg, The Power of Photography, pp. 163-173
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Photography, 16: 2 (Summer 1992), pp. 87-93.
40
96 Ben Shahn97
Gordon Parks
98
George Dimock
1909-1918
1970 M0MA
1980
99
100
96
42 40
40
42 1989 4
23-55
97
41
101
1718
Patricia Holland
102
103
101
102
103
2000
Patricia Holland, What Is A Child ?, in Photography/ Politics: Two, ed. Patricia Holland, Jo
Spence and Simon Watney (London: Comedia, 1986), pp. 43-53.
2000
23-25
42
104
victim photography
105
104
105
Judith Fryer Davidov, Womens Camera Work: Self/Body/Other in American Visual Culture
(Durham and London: Duke University Press, 1998), p. 221.
Martha Rosler, In, Around, and Afterthoughts (On Documentary Photography), in The Contest
of Meaning, pp. 306-307; Abigail Solomon-Godeau, Photography at the Dock, pp. 176-179.
43
15
106
106
44
45
John Urry107
22
10
17
107
John Urry, The Tourists Gaze: Leisure and Travel in Contemporary Societies (London: Sage,
1990), p. 139.
46
18 19
17
18
19
18
108
17
18 19
17
108
1992
165-170
1 1992 5
42-49
1994
78-81
47
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109
21
22
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109
John Berger,
3-28
48
80
49
19
111
Peter D. Osborne
1840
112
exotic
20
110
111
112
Margaret Mead, Anthropology and Camera, in The Encyclopedia of Photography Vol. I, ed.
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Field (Albuquerque: University of New Mexico Press, 2000), p. 154.
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Peter D. Osborne, Travelling Light (Manchester: Manchester University Press, 2000), p. 17.
50
113
-nation-state
114
1877
1895
1965
1967 1970
115
116
113
114
115
116
2 1994 1
17-27
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1998
123
51
117
22
118
tourist gaze
colonialist-voyeuristic
119 22
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117
118
119
165-170
42-49
Patricia Holland, Sweet It Is to Scan, pp. 112-113.
52
Metz
120
23
22
22 23
120
Christian Metz, The Imaginary Signifier: Psychoanalysis and the Cinema (Bloomington: Indiana
University Press, 1977), pp. 59-60.
53
121
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RodchenkoFormalism
Roman Jakobson
laying bare of the device
122
24
-
123
121
122
123
1995
3-5
Abigail Soloman-Godeau, Photography at the Dock , pp. 56-58.
Abigail Soloman-Godeau, Photography at the Dock , pp. 56-58.
54
25
55
124 -
20
124
Louis Giannetti,
1992
24-28
56
57
112
125 75
37
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128
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1999
3
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129
29
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129
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131
144
63
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131
27
27
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131
http://www.sinica.edu.tw/~dlproj/huso/yamei.html
64
32
33
132 32
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132
John Pultz,
79-80
65
28 32
31
Maurice Victor Portman
35
35
66
31
31
31
Ann Kaplan
gaze133
134 Anne
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135
133
134
135
Ann Kaplan, Looking for the Other: Feminism, Film, and the Imperial Gaze (London: Routledge,
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Edward Curtis
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1993 11
12-13
Anne Maxwell, Colonial Photography and Exhibitions, pp. 49-52.
67
136
138
fixity139
William E. McRae
140
136
137
138
139
140
Edward Said
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81
Andrew Edgar and Peter Sedgwick, eds., Key Concepts in Culture Theory (London: Routledge:
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Stuart Hall, Representation: Cultural Representations and Signifying Practices (London: Sage,
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58
1999 1
85-111
Homi K. Bhabha, The Location of Culture (London: Routledge, 1994), p. 66.
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68
141
imaginary other
nowhere
142
90
143
141
142
143
Peter van Lent, Her Beautiful Savage: The Current Sexual Image of the Native American
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19 1998 7
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2000
36-39
69
5060
36
144
144
25
70
37
37
71
145
146
147
148 26
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145
146
147
148
48
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2000
191
72
149
40
31 40
149
134
73
Gyrgy Lukcs
150
31
151
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152
150
151
152
Gyrgy Lukcs,
1988
1-14
G. H. R. Parkinson,
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120-161
136
74
153
41
154
155
153
154
155
141
1993
189-191
134
75
76
156
157
156
157
VS. 12
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42
158
http://www.china-tide.net/abomagazine
78
159
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1998
107
79
80
1985
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108-123
81
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150-164
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128-141
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12 90-115
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126-140
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19 1998 7 105-123
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:~1997
1998
1999
http://www.sinica.edu.tw/~dlproj/huso/yamei.html
2001
82
4 1994 5 66-81
11 4 1999
4 74-82
Asia View
1996
1998
1998
1990
58
1999 1 85-111
2000
1999
1 4 1998
233-246
61 1997 10 219-224
43 2001 9 197-234
1 1992 5
42-49
1985
11 2 2-3
83
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1997
1998
1998
---------
1999 12 6-7
---------http://www.365uol.com/read/art-08-reading.htm
7 1996 2 19-44
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1996 67-82
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291-299
1895-1937
2000
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9 158-168
--------- 183 1986 5
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3-18
1998
7 6 1991 4 20-24
2001 1
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9
3 2000 31-69
1994
84
---------
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17-27
1999 9 20 41
2000
74 1997 10
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---------
91
2000 4 93-95
1988
1995 5
6
1993
Althusser, Louis, 1989
Anderson, Benedict,
2001 2 18 -19 23
Barthes, Roland, 1997
Bazin, Andr,
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Benjamin, Walter,
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Berger, John, 1998
Bocock, Robert, 1994
Burton, Julianne,
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Foucault, Michel,
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Giannetti, Louis, 1992
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87
2001 1 31 11
88
2001 1 31 11
1979
Ansel Adams
Richard AvedonEugene Smith
89
Fortune
80
90
91
92
1967
1967
93
94
95
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96
85 5
97
10 10
Josef Koudelka
Robert Capa
98
99
100
1.
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3.
1988
101
4.
5.
6.
102
7.
8.
9.
103
10.
11.
(1899)
12.
104
13.
14.
16.
15.
105
17.
18.
19.
106
20.
21.
107
22.
23.
108
24.
1933
25.
109
26-3
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26-4
26-8
26-2
26-5
26-7
26-6
26-9
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110
26-13
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26-12
26-14
26-15
26-17
26-16
26-18
26-19
26-20
111
26-21
26-22
26-23
26-24
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26-25
26-26
26-29
26-28
26-31
112
27.
28.
29.
113
31.
30.
32.
114
33.
1920
34.
35.
1896
36.
115
37.
1974-1975
38.
1974-1975
39.
1897
116
41.
42.
40.
43.
117