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|Title: ||Photography as literary production : on Walter Benjamin's art form|
|Other Titles: ||攝影如文學生產 : 論班雅明的藝術形式|
|Authors: ||洪友仁;Hong, You-Ren|
|Keywords: ||攝影;技術;形式;攝影文學;班雅明;photography;Technik;Form;Photoliterature;Walter Benjamin|
|Issue Date: ||2016-01-22 14:39:12 (UTC+8)|
In the history of photography, the discussions of photography have been centered on a sterile formula: nature and culture. The nature of photography suggests that the photographic medium has its own unique property. Such the unique property of photography lies in its self-evident form of representation in relation to the field of aesthetics. On the other side, the investigations of photography focusing on the aspects of cultural content include a great variety of theoretical studies. This formula leads us to further speculate the dichotomy between form and content in photography. Is it possible that a new form of photography, as a genuine art form, involves sociopolitical aspects and is associated with literary products? Divided into three chapters, this thesis intends to explore this new form of photography—photoliterature.
In chapter one, I will explore the very role of technique in the production of photography. For Walter Benjamin, the sterile dichotomy of form and content in literary products can be surmounted due to the advanced technique. However, the problem of technique, as Benjamin suggests, should be tackled in terms of photographic representation. Besides, the growth of form in photography has the certain relation to the role of technique if we find the form appropriate to the tendency of our time.
The second chapter concerns the new form in photography, that is, photoliterature, which concludes both photographs and words. First, I will elaborate Benjamin’s call for a written caption beneath the photographic reportage in order to evolve the form of photoliterature that can be politically useful with certain qualities. Second, the characteristic relation between text and image in this form has to be concerned since this form serves as a revolutionary art form.
The last chapter examines Orhan Pamuk’s Istanbul: Memories and the City as the form of photoliterature. With textual narratives and graphic materials, this novel exposes a melancholic experience peculiar to Istanbul, namely hüzün. For Pamuk, hüzün is not purely derived from a subjective experience of compassion but from the ruins of the fallen city that reflect the political change in the history of Istanbul. For this reason, I intend to show how the relation between pictures and narrative forces us to reflect the changes in the history of Istanbul in this novel.
Photoliterature, as Pamuk’s Istanbul exhibits the new way of representation, should be considered as a progressive form appropriate to our time. Since the form is proper to the taste of contemporary writers and readers, the traditional notion of fine art form has to be re-examined. Photoliterature that could reflect the political condition of our life has its quality as valuable as traditional art forms.
|Appears in Collections:||[英文學系暨研究所] 學位論文|
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