作為「劇場」的新聞/紀實攝影與社運：以「太陽花運動」的照片為例

Abstract

本文對具代表性的「太陽花運動」攝影作品進行閱讀，分析長久存在於主流新聞攝影與紀實攝影裡的一些問題。臺灣主流傳播場域的攝影理念與實踐，承襲了西方新聞／紀實攝影的見證式古典傳統；而以普立茲得獎攝影作品為代表的實踐，強調捕捉畫面的感性效果，和事件的戲劇性氛圍。本文認為，見證式影像在臺灣1980年代的政治反對運動裡，有其階段性的必要作用，但是「太陽花運動」的影像仍複製見證式影像裡的感性與戲劇性概念，將使影像和社運的話語或政治意義都趨於單一。

This paper reads selected photographic works of ＂The Sunflower Movement＂ and analyses some of the main problems that long existed in mainstream journalistic/ documentary photographic practices, which inherited the eye-witness tradition that originated from the West. Photographs awarded the Pulitzer Prize are representative of such a tradition, stressing the emotional/affective effect of images that create a theatrical ambience. While it may be indispensable to apply the eyewitness function and emotional effect of political reform movements in 1980s Taiwan, this paper argues that duplicating such concepts in ＂The Sunflower Movement＂ could only simplify, if not nullify, either photographic discourse or social movements.