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| April 2012 |
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20 |
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| 傳播論壇Communication Forum |
| 影像政治與台灣 |
| Visual Politics and Taiwan |
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(2456)
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| 作者 |
郭力昕 |
| Author |
Li-Hsin KUO |
| 摘要 |
本文剖析台灣影像文化的發展，如何由七十年代叛逆攝影中透視的人文精神，轉變成今天主流電視電影以至紀錄片均充斥着的溫情感傷主義。感傷主義的作品，取材溫馨、感傷、或勵志的故事和敍事方式，然而卻是去政治化的人道主義關懷。作者指出，感傷主義的出現，一方面受全球化影響，另一方面則與台灣島嶼文化的歷史脈絡相連；而主流紀錄片的去政治化現象，只會令統治者的權力、及服務於其利益的意識形態更鞏固。 |
| Abstract |
This essay examines how visual culture has changed from the humanism of the rebellious photography in the 1970s, to the sentimentalism as expressed on television, in films and even documentaries produced in recent years. These sentimental programs are humanistic but apolitical. The rise of sentimentalism is global, yet connected to the specific historical context of Taiwan. Mainstream documentaries and their sentimental images, the author argues, are apolitical and serving the interests of the status quo.
本文引用格式
郭力昕(2012)。〈影像政治與台灣〉。《傳播與社會學刊》，第20 期，頁183–196。
Citation of this article:
Kuo, L. H. (2012). Visual Politics and Taiwan. Communication & Society, 20, 183–196.
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| No.67 2024 January |
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