2016年 秋季 23
研究論文  Research Article
頁數:49﹣78
太陽花運動影像作為「美學事件」
Sunflower Movement Image as an Aesthetic Event
  (1)
作者(中) 張小虹
作者(英) Hsiao-hung Chang
關鍵詞(中) 太陽花運動、影像、美學、民主、攝影、手機
關鍵詞(英) Sunflower Movement, Image, Aesthetics, Democracy, Photography, Cell phone
中文摘要 如果運動影像不只是社會運動「的」再現影像,那我們究竟可以如何思考運動的「影像性」與影像的「運動性」呢?本文以德勒茲的「運動-影像」與洪席耶的「美學政治」為主要的理論發想,聚焦於太陽花運動期間「手機媒體與網路影像串流」所啟動「攝影影像」的快速增生、連結、繁殖、流通、裂解。

論文的前半部分聚焦於兩本太陽花運動的攝影書《天光》與《從我們的眼睛看到島嶼天光》,企圖鋪展「大相機美學」與「歷史事件見證」的構連;論文的後半部分以「小手機美學」的「虛擬間介」切入,探討其所牽動的當代攝影技術與物質載體的改變,以及其如何基進「介入」當前臺灣社會運動與攝影史的再現體系與感知分隔共享秩序。若太陽花運動所給出的「攝影影像」思考,不只是如何再現「318占領立法院」(反服貿運動、公民不服從運動等等)以及後續行動的小寫事件,而有可能是一場「影像的核爆」,以行動手機網路影像的即時上傳與共時海量匯流,基進改變了攝影與臺灣社會運動既有的歷史連結與對應關係,那太陽花運動作為臺灣攝影史上的「美學事件」,就不會再是「攝影美學」命題下的「美學事件」,而是「美學政治」命題下的「美學事件」,一個基進思考「影像民主」並基進挑戰臺灣社會運動史與攝影史史觀的「美學事件」。
英文摘要 If the movement image points not merely to the representation of social movement, how can we think through the “image” of the movement and the “movement” of the image? Taking Gilles Deleuze’s “the movement-image” and Jacques Rancière’s “the politics of the aesthetics” as major theoretical points of departure, this paper focuses on the “photographic image” of the Sunflower Movement to highlight its fast proliferation, connection, propagation, circulation and disruption triggered by the “the flow of cell phone media and web image.”

The first half of the paper will start with two photo books—The Sunrise and The Island’s Sunrise Seen from Our Eyes—in an attempt to map out the entwinement of “the aesthetics of big camera” and “the eyewitness of historical event.” The second half of the paper will foreground “the aesthetics of small cell phone” and its “virtual mediality” to explore how it is implicated in the change of contemporary photographic technology and materiality, and also how it can “intervene” radically into the representational system and the distribution of the sensible of both social movements and the history of photography in Taiwan.

If the thinking triggered by the “photographic image” of the Sunflower Movement stands not merely as the representation of “318 Occupy Legislative Yuan” (of Anti-Cross Strait Service Trade Agreement, of civil disobedience and so on) and the following events, it could turn out to be a “nuclear explosion of image,” radically changing at the intersection of the mobile phone, web image and big data the traditionally established relationship between photography and social movements in Taiwan. We can only read the Sunflower Movement as “an aesthetic event,” not in light of the traditional “photographic aesthetics,” but in light of “the politics of aesthetics,” an event challenging the history of social movement and photography by thinking radically through the “democracy of the image.”
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No.23  2016 秋季
No.22  2016 春季
No.21  2015 秋季
No.20  2015 春季
No.19  2014 秋季
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