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研究生:柏瑞嵐
研究生(外文):MARGOT BOLLIN
論文名稱:攝影書與社群媒體之副文本:社群照片之形式與體現經驗研究
論文名稱(外文):Photobooks and the Paratext of Social Media: An Investigation in the Formal and Embodied Experience of the Social Photo
指導教授:朱 盈 樺
指導教授(外文):CHU, YINHUA
口試委員:蔡明君
口試委員(外文):FRANCIS MARAVILLASTSAI, MINGJIUN
口試日期:2023-11-24
學位類別:碩士
校院名稱:國立臺北教育大學
系所名稱:當代藝術評論與策展研究全英語碩士學位學程
學門:藝術學門
學類:藝術行政學類
論文種類:學術論文
論文出版年:2023
畢業學年度:112
語文別:英文
論文頁數:91
中文關鍵詞:攝影書社群媒體影像副文本體現經驗
外文關鍵詞:InstagramPhotobooksSocial PhotoParatextEmbodied Experience
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本論文以學者約翰娜.杜拉克(Johanna Drucker)於一九九七年發表的一篇論文為起點,該文聚焦於藝術家書籍與電子媒體平行演進的過程;以此出發,本文探查書籍形式與社群媒體平台間的糾葛關係。本研究借鑑視覺文化、文學理論和認知理論,試圖將這些學科連接成一個以攝影書為主體的跨學門領域。在Instagram等社群媒體應用程式影響下,攝影已無所不在,並成為許多非藝術家和非專業人士運用的媒介,視覺文化研究也顯示影像已經成為一種溝通手法。內森.尤根森(Nathan Jurgenson)認為,社群照片既是圖像亦是言語。在此脈絡之下,藝術家針對這種數位圖像製作手法之反思所創作的攝影集,彰顯我們與圖像之間的現代關係。本文挑選的個案研究為李漢強的「Juicebox Selfie #6 撲克牌」以及楊雅淳的「write a poem」,這是兩本利用社群照片構成圖像敘事的攝影書,反映出現代群眾的交流方式。在這兩個案例中,攝影書中的素材都是從藝術家的Instagram帳戶發展而來,有時這些照片在收進攝影書前就已發表於Instagram上,因而影響著攝影書的閱讀經驗。本文援引傑拉德.熱奈特(Gérard Genette)提出的副文本(paratext)概念,來探討社群媒體內容如何構成實體書與其受眾間的一種中介形式。在Instagram的脈絡之下,這種副文本的表現形式是將圖像轉化為可識別的符號,賦予藝術和社會話語全新意義。
Starting from a 1997 article by scholar Johanna Drucker about the parallel evolution of artists’ books and electronic media, this thesis investigates the entanglements between the book form and social media platforms. The research draws from visual culture, literary theory and cognition theory to employ a language that bridges those discipline into a multidisciplinary subject defined around the object of photobooks. At a time when photography has become ubiquitous and a regular practice for many non-artists and non-professional people, through social media apps such as Instagram, visual culture studies show a use of pictures as communication; according to Nathan Jurgenson, the social photo is speech as much as image. In this context, photobooks by artists who reflect on this type of digital image-making highlight our modern relationship with images. The chosen case studies, write a poem by Yo Yang and Juicebox Selfie vol. 6 by Lee Kan Kyo, are two photobooks using the social photo to form an image-based narrative that reflect on our modern communication practices. In both cases, the book object is expanded and often preceded by the artists’ Instagram account and influences the reading experience of the book. Gerard Genette’s concept of paratext is used to examine how social media content constitutes a form of mediation between the physical book and its audience. In the context of Instagram, this paratext is represented by a multiplication of images turned into recognizable symbols with new meaning for artistic and social discourse.
Chapter 1. Introduction 1

Chapter 2. Literature Review 7
2.1. Publishing and Photobooks 7
2.2. Digital Visual Culture and Instagram 9
2.3. Digital Modernity and Experience 11

Chapter 3. Methodology 14
3.1. Case Studies 15
3.1.1. Visual Culture Research 17
3.1.2. Phenomenological Investigation 20
3.2 Interviews 22

Chapter 4. Cross-platform Analysis 24
4.1. Image-making and Media Aesthetics 24
4.1.1. Content 28
4.1.2. Framing 37
4.2. The Social Sphere of the Photobook 45
4.2.1 Space 47
4.2.2 Audience 51
4.2.3 Object 54
4.3. Embodied Experience 58
4.3.1. Investigation 58
4.3.2. Embodied experience and Phenomenology 65
4.3.3. Phenomenological Investigation 67

Chapter 5. Conclusion 72

Bibliography 77

Appendix 79
Email Interview with Lee Kan Kyo 79
Interview with Fotobook Dummies Day 83
Interview with Chang WenHsuan 98
Screenshots of the artists Instagram accounts: 105
Amaranth Borsuk. 2018. The Book. Cambridge, Ma: The Mit Press.
Benjamin, Walter, Hannah Arendt, and Harry Zohn. Illuminations. New York: Schocken Books, 1986.
Chu, YinHua. “The Photobook Phenomenon: From the Perspective of Taiwan Photography History.” Photographies 14, no. 1 (January 2, 2021): 85–93. https://doi.org/10.1080/17540763.2020.1847176.
Colberg, Jörg. Understanding Photobooks: The Form and Content of the Photographic Book. New York: Routledge, Taylor & Francis Group, 2017.
Dalle Pezze, Barbara, and Carlo Salzani. Essays on Boredom and Modernity. Amsterdam New York: Rodopi, 2009.
Di Bello, Patrizia, Colette E. Wilson, and Shamoon Zamir, eds. The Photobook: From Talbot to Ruscha and Beyond. London ; New York: I.B. Tauris, 2012.
Drucker, Johanna. “The Self-Conscious Codex: Artists’ Books and Electronic Media.” SubStance 26, no. 1 (1997): 93. https://doi.org/10.2307/3684834.
Genette, Gérard, and Jane E. Lewin. Paratexts: Thresholds of Interpretation. Cambridge: Cambridge University Press, 2009.
Jurgenson, Nathan. The Social Photo: On Photography and Social Media. London New York: Verso Books, 2019.
Leaver, Tama, Tim Highfield, and Crystal Abidin. Instagram: Visual Social Media Cultures. Digital Media and Society Series. Cambridge, UK ; Medford, MA, USA: Polity, 2020.
Lehner, Ace, ed. Self-Representation in an Expanded Field: From Self-Portraiture to Selfie, Contemporary Art in the Social Media Age. Basel: MDPI, 2021.
MacDowall, Lachlan, and Kylie Budge. Art After Instagram: Art Spaces, Audiences, Aesthetics. 1st ed. New York: Routledge, 2021. https://doi.org/10.4324/9781003001799.
Manovich, Lev. Instagram and Contemporary Image. Released under Attribution-NonCommercial-NoDerivatives 4.0 International Creative Commons license. New York, NY, 2017.
Murray, Derek Conrad, ed. Visual Culture Approaches to the Selfie. Routledge History of Photography. New York, NY: Routledge, 2022.
Noë, Alva. “Experience and experiment in art”. Journal of Consciousness Studies 7 (8-9):8-9, 2000
Rose, Gillian. Visual Methodologies: An Introduction to Researching with Visual Materials. 4th edition. London: SAGE Publications Ltd, 2016.
Penny, Simon. 2019. MAKING SENSE : Cognition, Computing, Art, and Embodiment. S.L.: Mit Press.
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