Helmut Newton 時尚攝影中的觀看與女性裸體

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摘要 時尚攝影(fashion photography)自從1960年代以來,攝影師的表現風格漸富變化,加上女性解放運動自1970年代肇興與時尚媒體的多元發展,時尚攝影演變成並不特寫衣服而趨於類型化,風格包括戀物與窺視。基於這個時代背景,自1950年代開始為時尚攝影雜誌拍照的美籍時尚攝影師Helmut Newton (1920-2004) 如何在具有商業銷售目的之時尚作品中,突顯「觀看」及「女性裸體」,將是本論文即將要探討的問題。基於此,本研究將以Helmut Newton的兩組作品Self-portrait with models and wife與The Naked and the Dressed為主要研究文本,並從文獻探討與文本分析兩方面進行討論。在文本分析方面從攝影師自傳、歷史、精神分析、裸體論述以及電影《激情》(Passion)、委拉斯貴茲與塞尚等人的作品之觀點出發,分析兩組作品中的圖像意義,探討Newton是如何利用攝影影像,來營造觀看場域與女性裸體。
Abstract Since 1960s, styles of fashion photography have been greatly changed and verified, moreover, since 1970s, sex liberation enhances fashion, fashion media and even the social atmosphere. Eventually, fashion photography is not only focusing on clothes, but also generates its own types and styles. According to this background, how did Helmut Newton (1920-2004) foreground gaze and female nude in commercial and marketing based fashion photography? The purpose of this study is to investigate Helmut Newton’s two major works and series: Self-portrait with models and wife’and The Naked and the Dressed, and to explore the gazes network and female nudes he created. There are two major methodological components of methodology in this study, one is historical review based on the insight of Newton’s Autobiography, and culture studies, the other is focused on the photography by using psychoanalysis theory of Freud, Lacan, and Jean Laplanche.



時尚攝影, 鏡像, 觀看, 女性裸體, Fashion Photography, mirror image, gaze, female nude