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研究生:陳啟健
研究生(外文):Chi-chien Chen
論文名稱:時尚、影像、美的幻影:從時尚中介看當代美學的產製
論文名稱(外文):Fantasy, Illusions and Photographic Aesthetics: Intermediating the Sense of Beauty in the Taiwan's Studios for Fashion Magazines
指導教授:蕭宏祺蕭宏祺引用關係
指導教授(外文):Hong-chi Shiau
學位類別:碩士
校院名稱:世新大學
系所名稱:新聞學研究所(含碩專班)
學門:傳播學門
學類:新聞學類
論文種類:學術論文
論文出版年:2009
畢業學年度:97
語文別:中文
論文頁數:84
中文關鍵詞:時尚時尚雜誌時尚攝影 (師)時裝編輯當代美學
外文關鍵詞:FashionFashion MagazineFashion Photography (er)Fashion EditorContemporary Aesthetics
相關次數:
  • 被引用被引用:17
  • 點閱點閱:1829
  • 評分評分:
  • 下載下載:506
  • 收藏至我的研究室書目清單書目收藏:4
時尚總被一股「難以言傳、只能意會」的氣氛所包圍,這種特質使得「影像」被特別倚重,尤其時尚雜誌對影像的大量重製與重現,更肩負將每季更迭的新訊息傳播出去的重責大任。我直擊當代美學氛圍與影像修辭 (visual rhetoric) 的人工產製過程,經由攝影師和時裝編輯對時尚攝影的共識,解析他們所編演的那套「美的劇本」,以及其對美的集體想像與實踐又是何去何從。

從時尚雜誌的攝影棚和編輯室,我以一個埋伏的研究角色,檢視當代流行時尚產業對大眾美學和「魅力」產製的觀點。透過自我實踐與反思的研究過程,以趨近產業當事人 (insider) 的位置完成本研究。

研究歸納出時尚攝棚透過光影、道具、模特兒等「配件」所形成的萬花筒效果;此外,時尚攝影援引來自電影藝術的影像技術與概念,與近代數位科技的後製效果,構成其攝影蒙太奇的效果;並從時尚攝影中,進一步討論當代特有的極端美學與及背後所隱含的意義;最後透過時尚產業的權力劃分,以一個較宏觀的視野,討論時尚攝影所表現的當代美學樣貌究竟為何。

總結來看,時尚攝影是當代媒合攝影技術、時尚設計與藝術創作的「大眾藝術」,由此它衍繹了多變、流動且複雜的美學概念,透過影像的產製,深深地影響那些主流與非主流文化,更重要的對人們審美觀念的重製與重新定義。
In the fashion industry, the aesthetics - the editorial consensus of what constitutes of beauty - has always been elusive. For practitioners, "aura" is a jargon to which they refer as editorial decision comes along. This study examines multi-faceted levels of aesthetic choices revolving around Taiwan's fashion studio in an attempt to theorize the interplay of forces that impact contemporary photographic studio. Along the same line, issues concerning collective bargains and negotiations among various agents that facilitate the process of visual rhetoric are explored.

As a longstanding part-time model and editorial assistant, the researcher "ambushed" observing the process of making sense of the beauty. This study employes ethnographic approach, writing the paper from an insider's perspective. The result yielded include Kaleidoscope effect, Montage effect and the process of digitalization challenging post-production. In conclusion, this research analyzes institutional factors that challenge or comprise the aesthetic status quo in contemporary fashion photography in Taiwan.
壹、圖像:美的迷宮
1-1 研究架構…………………………………………………………………… 2
1-1 研究背景與目的…………………………………………………………… 2
1-2 研究方法與限制:參與觀察的田野研究………………………………… 3

2-1 進入美麗的迷宮:研究田野……………………………………………… 5
2-1 美麗如我…………………………………………………………………… 7
2-2 時尚流行雜誌場域:進入攝影棚………………………………………… 9
2-3 攝影師與時裝編輯………………………………………………………… 12
2-4 數位時代的攝影變革……………………………………………………… 13

3-1 理論基礎
3-1 美麗倩影:時尚攝影美學………………………………………………… 17
3-2 時尚:美的流變…………………………………………………………… 20
3-3 流行守門人:從攝影師和時尚編輯看當代時裝攝影…………………… 22

貳、時尚:美的幻境
1-1 進棚:從自我經驗看時裝攝影現場……………………………………… 27
1-1 時尚攝影棚的人工自然美:萬花筒效果………………………………… 27
1-2 時尚攝影的蒙太奇………………………………………………………… 33
1-3 消失與出現:時尚攝影的後製…………………………………………… 38

2-1守門:從攝影師和時尚編輯看當代時尚攝影
2-1 美麗共識,共識美麗……………………………………………………… 42
2-2 時尚攝影的極端美學……………………………………………………… 45

3-1 賺錢的藝術、揮霍的美麗
3-1 美麗權威…………………………………………………………………… 55
3-2 移植美麗:來自全球化的觀點…………………………………………… 58

4-1結論:美無止盡…………………………………………………………… 63
4-1研究限制與建議…………………………………………………………… 64

5-1參考文獻…………………………………………………………………… 66
6-1附錄………………………………………………………………………… 69
英文
Arnold, R. (2001), Fashion, Desire and Anxiety: Image and Morality in the 20th Century, New York: I.B.Tauris & Co Ltd.
Baudelaire, C. (1995), The Painter of Modern Life and Other Essays, 2nd edn, London: Phaidon.
Benjamin, W. (1980), ‘A Short History of Photography’, in Trachtenberg A. (ed.), Classic Essays on Photography, 2nd edn, New Haven: Leete’s Island Books.
Beker, J. (1999), ‘That Was Then, This Is Now’, Flare, pp.44.
Braham, P. (1997), ‘Fashion: Unpacking a Cultural Production’, in P. de Gay (ed.), Production of Culture, Cultures of Production, London: Sage.
Breward, C (2003), Fashion, Oxford: Oxford University Press.
Bosnitch, K. (2000), ‘A Little on the Wild Side: Eaton’s Prestige Fashion Advertising Published in the Montreal Gazette, 1952-1972’ in Palmer, A. (ed.), Fashion: A Canadian Perspective, Toronto: University of Toronto Press.
Buck-Morsss, S. (1997), The Dialectics of Seeing, Walter Benjamin and the Arcades Project, Cambridge, MA: MIT.
Burgin, V. (2000), ‘Looking at Photographs’, in E.B. Manuel Alvarado, and Richard Collins, (ed.), Representation and Photography: a Screen Education Reader, New York: Palgrave, Houndsmills,.
Campbell, C. (1989), The Romantic Ethic and the Spirit of Modern Consumerism, Oxford: Basil Blackwell.
Campbell, C. (1993), ‘Understanding Traditional and Modern Patterns of Consumption in 18th England: A Character-Action Approach’, in Brewer and Porter R. (eds.), Consumption and the World of Goods, New York: Routledge.
Craik, J. (1993), The Face of Fashion, London: Routledge.
Corrigan, P. (2008), The Dressed Society: Clothing, the Body and Some Meanings of the World., London: Saga Publications.
Entwisle, J. (2000), The Fashion Body: Fashion, Dress and Modern Social Theory, Cambridge: Polity Press.
Featherstone, M. (1991), ‘The Body in Consumer Culture’, in Featherstone, Michael, Hepworth, Michael & Turner, Bryan S. (eds), The Body: Social Process and Cultural Theory, London: Sage.
Fulsang, D. (2000), ‘The Fashion of Writing, 1985-2000: Fashion-Themed Television’s Impact on the Canadian Fashion Press’ in Palmer, A. (ed.), Fashion: A Canadian Perspective, Toronto: University of Toronto Press.
Gerrard, N. (1996), ‘In Front of the Children’, in French, K.(ed.), Screen Violence, London: Bloomsbury.
Krause-Wahl, A. (2009), Between Studio and Catwalk-Artists in Fashion Magazines, Fashion Theory, Volume 13, Issue 1, pp.7-28.
Leopold, E. (1992), ‘The Manufacture of the Fashion System’, in Ash J. & Wilson E. (eds), Chic Thrills, London: Pandora.
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Nicolas, B. (1981), Ideology and the Image: Social Representation in the Cinema and Other Media, Bloomington: Indiana University Press.
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Perthuis , de K. (2005), The Synthetic Ideal: the Fashion Model and Photographic Manipulation., Fashion Theory, Volume 9, Issue 4, pp.407-424.
Ramamurthy A. (2004), ‘Spectacles and Illusions: Photography and Commodity Culture’, in Photography: A Critical Introduction, London: Routledge.
Sander, M. , Poynter, P & Derrick, R. (eds.) (2000), The Impossible Image: Fashion Photography in the Digital Age, London: Phaidon Press.
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Shoemaker, P. (1991), Gatekeeping, Thousand Oaks, CA: Sage.
Sontag, S. (1979), On Photography, Penguin Books, London.
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Stivers, R. (1994), The Culture of Cynicism, American Morality in Decline, Oxford: Blackwell.
Tulloch, J. (1990), Television Drama: Agency, Audience and Myth. New York: Routledge.
Wilson, E. (1985), Adorned in Dreams: Fashion and Modernity, London: Virago.

中文
李昱宏 (2006)。創意攝影:美感的攝影技巧。台北:藝術家。
李昱宏 (2008)。冷靜的暗房。台北:書林。
許綺玲 (譯) (1997),Barthes, R. (著)。明室:攝影札記。台北:台灣攝影工作室。
許綺玲 (譯) (1998),Benjamin, W. (著)。迎向靈光消逝的年代。台北:台灣攝影工作室。
許舜青 (譯) (2008),White, N. & Griffiths, I.(編著)。時尚經濟。台北:序曲文化。
許孟延 (2005),美麗化身-流行時尚雜誌讀者對美的接收與詮釋。政治大學廣播電視研究所碩士論文。
許純昌 (2008),閱讀時尚男性雜誌中的「男人味」。高雄師範大學性別教育研究所碩士論文。
張定綺 (譯) (1995),Coleridge, N. (著)。流行陰謀。台北:時報出版。
章光和 (2004)。複製真實-後現代攝影創作構思系統論述與實踐。台北:田園城市。
章光和 (2006)。攝影不是藝術。台北:田園城市。
陳芸芸、劉慧雯 (譯) (2003),McQuail, D. (著)。特新大眾傳播理論。台北:韋伯文化。
雜誌
2004 《i-D》July: The After Dark Issue, No.244.
2006 《V》January, No. 36.
2007 《10》Spring Issue.
2009 《French Vogue》 February, No.894.
2009 《GQ》國際中文版 April: I Feel Good, No.151.
2009 《Marie Claire》國際中文版 February, No.190.
2009 《Marie Claire》國際中文版 May, No.193.
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