| Summary: | 碩士 === 國立花蓮師範學院 === 視覺藝術教育研究所 === 93 === This paper provides an overview of how three postgraduates (Siaosuen, Weian and Lanci) who carry clooege-trained art background reveal their stories of self-internality by describing an image. Through their process of interpretation and meaning-making of selected visual image, I intend to inquire how their self-identity are constructed. The research process is a kind of “Journey through Time in Images”. It liked they opend their own time capsule they buried every time scale by long time ago.
There are three stages of Journey through Time in Images, i.e. the ego collection, body fantasy, and female role-play. In stage of ego collection, the interviewees tell stories of their most treasured pictures. Over time, the meaning of the selected visual image moves between the present and the past. Meaning is a dialogue between viewer and image.The image between the truth and presentation will be constructed and deconstructed according to how much time has elapsed. By interpreting the selected visual image, Siaosuen, Weian and Lanci form and deform the image upon reviewing and explaining the past in various stages.
In the Body Fantasy stage, the postgraduates tried to clarify the photographs of Francesca Woodman and interpreted how they see other females’ body. The results show that their viewpoints and focus on their images in ego collection has been transformed into the way that they observe the body of someone else. Their concerns include how the artist exposes herself by photographing her internal ego; how she tells secrets by using imaginable visual language; how she faces the ego issue and the meaning of bodyline and beauty in the image that the artist would like to express.
In stage of female role-play, the researcher used a series of pictures made by Cindy Sherman. “The untitled film Still” reflects the various life experiences of the three postgraduates. The purpose is to know their viewpoint of female role play. The conclusion is the same as that of the ego collection experiment. Their viewpoints is a kind of derived variation. Some interviewees still care about the impression of others regarding their looks as well as how different appearances and images can influence their value given by society. Moreover, some interviewees mind very much how the artist modifies their internal personality by photographing oneself.
Upon analyzing the transcript, the researcher took the viewpoints of Amelia Jones, “the eternal return, self-portrait photography as a technology of embodiment”, Peggy Phelan, “the still image is the compression of the present and the resistance to release the moment into the past without securing its return”, Kaja Silverman, “sensational body” and Carol Mavor, “the photograph as a surrogate of body” to analyze the meaning-making of the three postgraduates after interpreting the images. The viewpoint of Roland Barthes, “Studium” and “Punctum”, is also taken in order to supplement their emotional reactions and value impacts. However, the differentiated standard of public/private images from Barthes has sorted out the imaginable type of the three postgraduates.
This study leads us to explore how viewer makeing senses of experenece, of explaining or interpreting the world to ourself and others. The image will not be a reappearance of a substance presentation nor can it be easily controlled by social value and ideology. Women have to know, if the body is always an image in the Other, that is not merely because it offers itself to seen.
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