(Private) Photographs: On the Deconstruction and Reforming of the Image

• Main Author: 林明樺
• Other Authors: Jun-Jieh Wang
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/50543634216333306884

碩士 === 國立彰化師範大學 === 美術學系 === 99 === As a faithful simulacrum, photograph in certain aspects gradually supersedes reality, even dictates it. Taking as a point of departure the contemplating of objects outside self, and using “(Private) Photographs”, a series of photographs that the author took between 2007 and 2011 with “the objects” and “the bodies” as the subject, the author, in the current study, focused on the intimate relations between images and persons in these images; and on the pictures’ personal images that may be either doctored or faithful. Through this, the author studied the articulations among objects, self, images, and reality; and how these articulations differ depending on the context in which these articulations occur. And the author, with photography, pictures off the internet, and digital processing, discussed how images in the contemporary society articulate, integrate, and are thus qualitatively transformed. Chapter 1 discusses what motivates this research and research objectives and scopes. In Chapter 2, the author, from the context of my creative works, trace the relations between objects of photographs and self. Then, with specific reference to the internet era when the boundary between public and private domains is blurred, the author describes the changes in the relations between objects and persons, which occurred after objects and symbols in an image are materialized. Chapters 3 examines the structures of objects and images, and examines the significance of and compares the features of the deconstruction and the reforming of images. Chapter 4 then, by referring to the subjective conscious of photography and the objective conditions for viewing images, studies the expression of and expectations for “(Private) Photographs”. Conclusion discusses the metonymy of meanings in the process of the deconstruction and reforming of images, and the possibility of creating subsequent works.