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研究生:江書瑾
研究生(外文):Shu-Jin Jiang
論文名稱:《Gather Journal》食物攝影的影像分析
論文名稱(外文):Image Analysis of Gather Journal’s Food Photography
指導教授:柯志祥柯志祥引用關係
指導教授(外文):Chih-Hsiang KO
口試委員:陳建雄李根在
口試委員(外文):Chien-Hsiung ChenKen-Tsai Lee
口試日期:2018-12-19
學位類別:碩士
校院名稱:國立臺灣科技大學
系所名稱:設計系
學門:設計學門
學類:產品設計學類
論文種類:學術論文
論文出版年:2019
畢業學年度:107
語文別:中文
論文頁數:175
中文關鍵詞:食物攝影構成性詮釋法符號學
外文關鍵詞:food photographycompositional interpretationsemiotics
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現今與食物相關的照片,在社群平臺上擁有龐大的數量,網路上也不乏教人們拍
出食物美照的技巧,更形成了某些特定的、廣受歡迎的食物攝影風格。在此風潮下,
食譜導向雜誌《Gather Journal》突破所謂食物美照的樣貌,每期設定一具象或抽象主
題發展料理,食物攝影也致力於傳遞該期主旨。本研究目的在了解《Gather Journal》
如何以食物攝影傳達特定意義,及觀者對於影像的理解狀況。研究結果如下:
1. 以構成性詮釋法及符號學觀點分析影像發現,食物攝影較深層的含義,必須透過
色彩、空間組織、光線的表現方式來傳達。
2. 受訪觀者共20 人,具象主題有八人準確理解,而抽象主題只有二人準確解讀,
顯示抽象概念的食物攝影,較難傳遞給觀者。
3. 第一次解讀影像時,設計背景觀者較能注意到色彩、空間組織、光線的細節;而
有了解讀經驗後,再解讀另一主題影像,非設計背景觀者與設計背景觀者,對色
彩、空間組織、光線的觀察,已無明顯差異。
4. 以各別影像而言,非設計背景觀者與設計背景觀者,解讀接近影像含義的人數,
並無明顯差異,但能切中影像含義,多為設計背景觀者;而要求觀者將影像以「系
列」方式思考給予其定義時,設計背景觀者較能賦予系列影像一個明確的概念。
Food pictures occupy a great amount of social media content nowadays. People can
find many how-to-take-foodporn tips through Internet, and some specific foodporn styles
are quite popular among social platforms. Following this trend, the recipe-oriented
magazine Gather Journal has its own aesthetics of food photography. The dishes are
designed on a concrete or an abstract theme in each issue and the aim of food photography
is to convey that concept. The purposes of this study were to find out how Gather Journal
conveyed a specific concept by food photography, and participants’ understanding about
Gather Journal’s food pictures. The results of this study were as follows.
1. According to compositional interpretation and semiotics, the deep meaning of food
photography was often presented through color, spatial organization and light.
2. Among the 20 participants, eight of them exactly understood the concrete themes,
while only two of them exactly understood the abstract themes. This showed that food
photography with abstract concepts was more difficult to be understood.
3. The participants with design background could observe the details of color, spatial
organization and light more than the participants without design background when
they read the images the first time. However, after they had acquired the experience of
interpretation, there was no significant difference between the participants with and
without design background in color, spatial organization and light when they
interpreted another thematic image.
4. There was no significant difference in the number of participants with and without
design background who could understand individual images. However, the
participants with design background were more likely to exactly understand each
image’s deep meaning. While asking the participants to view each image as a series
and gave it a theme, the participants with design background could give a clearer
concept to a series of images.
論文摘要 .................................................................................................................................. I
英文摘要 ................................................................................................................................ II
誌謝 ....................................................................................................................................... III
目錄 ....................................................................................................................................... IV
圖表索引 ............................................................................................................................. VII
第一章 緒論 ........................................................................................................................... 1
1.1研究背景 .................................................................................................................. 1
1.2研究動機 .................................................................................................................. 1
1.3研究目的 .................................................................................................................. 3
1.4研究範圍與限制 ...................................................................................................... 3
1.5研究架構 .................................................................................................................. 4
第二章 文獻探討 ................................................................................................................... 7
2.1攝影 .......................................................................................................................... 7
2.1.1攝影的本質 ................................................................................................... 7
2.1.2攝影影像的分類與呈現方式 ....................................................................... 9
2.1.3攝影影像產生意義的方式 ......................................................................... 11
2.1.4攝影影像的元素 ......................................................................................... 12
2.2符號學 .................................................................................................................... 13
2.2.1符號的定義 ................................................................................................. 13
2.2.2符號與意義 ................................................................................................. 14
2.2.3隱含義、象徵與迷思 ................................................................................. 16
2.2.4符號學與攝影 ............................................................................................. 18
2.3食物與攝影 ............................................................................................................ 20
2.3.1食物攝影的定義與屬性 ............................................................................. 20
2.3.2食物攝影的發展 ......................................................................................... 20
2.3.3Food porn:社群平臺帶動的食物攝影風潮 .............................................. 29
第三章 研究方法 ................................................................................................................. 33
3.1研究流程 ................................................................................................................ 33
3.2樣本雜誌《Gather Journal》收集及影像篩選 .................................................... 33
3.3影像本身:構成性詮釋及符號學觀點 ................................................................ 35
3.4攝影者:影像圖說及表達性內容探討 ................................................................ 35
3.5觀者訪談 ................................................................................................................ 35
3.6研究模式 ................................................................................................................ 37
3.7質化研究的信度與效度 ........................................................................................ 37
第四章 研究結果分析 ......................................................................................................... 38
4.1影像本身分析結果 ................................................................................................ 38
4.1.1具象主題—起源(Origin) ....................................................................... 38
4.1.2抽象主題—七原罪(The Seven Deadly Sins) ........................................ 44
4.1.3影像本身分析小結 ..................................................................................... 52
4.2攝影者:圖說及表達性內容分析 ........................................................................ 53
4.2.1具象主題—起源的表達性內容 ................................................................. 53
4.2.2抽象主題—七原罪的表達性內容 ............................................................. 56
4.3觀者解讀結果分析 ................................................................................................ 60
4.3.1觀者基本資料 ............................................................................................. 61
4.3.2觀者解讀結果的信度檢驗 ......................................................................... 62
4.3.3具象主題—起源,觀者對各別影像的解讀分析 ..................................... 62
4.3.4抽象主題—七原罪,觀者對各別影像的解讀分析 ................................. 80
4.3.5觀者對各別影像的解讀分析小結 ............................................................. 99
4.3.6觀者對系列影像的解讀分析 ................................................................... 100
4.4實作分析 .............................................................................................................. 103
4.4.1影像本身的構成性詮釋與影像的表達性內容 ....................................... 104
4.4.2觀者解讀解果分析 ................................................................................... 115
4.5觀者解讀《Gather Journal》樣本與研究者實拍的比較 .................................. 125
4.6專家訪談 .............................................................................................................. 126
第五章 結論與建議 ........................................................................................................... 129
5.1《Gather Journal》食物攝影的影像構成 .......................................................... 129
5.2不同背景觀者,對「系列」的理解差異較明顯 .............................................. 130
5.3研究建議 .............................................................................................................. 130
5.3.1學術建議 ................................................................................................... 130
5.3.2應用建議 ................................................................................................... 131
參考文獻 ............................................................................................................................. 134
附錄:觀者解讀編碼 ......................................................................................................... 139
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