摩登映象－1930年代臺灣花界女性顯影
Abstract
本論文在探查1930年代臺灣《三六九小報》與《風月》報系中花界女性影像的內涵意義。《三六九小報》與《風月》報系是臺灣的漢文通俗報刊，順應著臺灣現代化帶來的休閒需求而生，其中頻繁出現的女性為當時臺灣的藝旦與咖啡店女給，而其影像之出現配合著報刊之休閒取向、編輯偏好以及專欄主題而刊登。專欄中的藝旦與女給被歸類為臺灣的花界女性，她們率先將自己的影像公開於大眾間，而其斷髮時裝的模樣是日治時期人們所熟知的摩登女性形象，這兩份報刊對於臺灣藝旦身分與活動的記載，為日治時期的花界女子生活留下寶貴的紀錄。
《三六九小報》與《風月》報系專欄的報導是男性文人的書寫品味，本文希望由花界女性親身拍攝的影像中，探查花界女性影像形式以及背後的社會品味，進而了解報刊中臺灣花界女性影像在文化脈絡中的意義。因此在第一章簡述全文論述框架，說明研究動機、研究現況，並指出本文研究範圍及援用之研究方法。第二章概述1930年代刊行花界專欄的《三六九小報》與《風月》報系與花界女性。第三章進入圖像研究，描述圖像，並將其姿態、造型、構圖歸類與統計，確認臺灣花界女性影像風格與脈絡位置。第四章從影像風格與女性裝扮詮釋女性影像意義，包含影像之建構、所呈現的社會品味以及刊登於大眾雜誌的效果等，最後回歸當時的臺灣花界女性，了解她們在時代環境中的經驗與轉變。
“3-6-9 Tabloid” and “Fong-Yue” (literally translated as “windy moon” in English), the two popular publications printed in Chinese during the 1930s in Taiwan, were born to meet the need of amusement following the modernization in Taiwan. In these two periodicals, Female portraits emerged frequently in almost every issue. The portrayed female images were either Taiwanese geishas or the waitresses served in cafes. These portraits appeared to be the type of amusement, the preference of editors and the subject of particular column in the publication. The geishas and waitresses in these columns were catergorized as flowers of Taiwanese women. They were the forerunner who made themselves public through publication of postcards and newspapers, in which their fashionable appearance impressed every Taiwanese in those years. The two periodicals have contributed precious records of the figures, the activities, and daily lives of Taiwanese flowers during the Japanese rule. The articles in “3-6-9 Tabloid” and “Fong-Yue”’s flower columns came from the writing preference of its male writers. In this study, by looking into the self expressions of geishas and waitresses, I hope to find the tastes or stresses behind the female images which they were photographed personally. We can then comprehend the meaning of Taiwanese flowers images in the cultural context. Chapter One introduces the frame and motivation of this study, the current studies of its kind, and then points out the scope of this study and the method used. Chapter Two talks about “3-6-9 Tabloid” and “Fong-Yue”, in which flowers columns edited and the representative geishas and waitresses in 1930’s. Chapter Three enters the steps of iconography. It starts with a description of the images, identifying its gesture, style and composition before summing it up. So we can determine the style and context of Taiwanese flowers images. Chapter four interprets the meanings of female images in terms of style of portrait, costume and make-up, including the usage of image, the social taste exposed, as well as the effect of a print in the publication. Finally, it returns to these Taiwanese geishas and waitresses, understanding their experiences and changes in the environment.
“3-6-9 Tabloid” and “Fong-Yue” (literally translated as “windy moon” in English), the two popular publications printed in Chinese during the 1930s in Taiwan, were born to meet the need of amusement following the modernization in Taiwan. In these two periodicals, Female portraits emerged frequently in almost every issue. The portrayed female images were either Taiwanese geishas or the waitresses served in cafes. These portraits appeared to be the type of amusement, the preference of editors and the subject of particular column in the publication. The geishas and waitresses in these columns were catergorized as flowers of Taiwanese women. They were the forerunner who made themselves public through publication of postcards and newspapers, in which their fashionable appearance impressed every Taiwanese in those years. The two periodicals have contributed precious records of the figures, the activities, and daily lives of Taiwanese flowers during the Japanese rule. The articles in “3-6-9 Tabloid” and “Fong-Yue”’s flower columns came from the writing preference of its male writers. In this study, by looking into the self expressions of geishas and waitresses, I hope to find the tastes or stresses behind the female images which they were photographed personally. We can then comprehend the meaning of Taiwanese flowers images in the cultural context. Chapter One introduces the frame and motivation of this study, the current studies of its kind, and then points out the scope of this study and the method used. Chapter Two talks about “3-6-9 Tabloid” and “Fong-Yue”, in which flowers columns edited and the representative geishas and waitresses in 1930’s. Chapter Three enters the steps of iconography. It starts with a description of the images, identifying its gesture, style and composition before summing it up. So we can determine the style and context of Taiwanese flowers images. Chapter four interprets the meanings of female images in terms of style of portrait, costume and make-up, including the usage of image, the social taste exposed, as well as the effect of a print in the publication. Finally, it returns to these Taiwanese geishas and waitresses, understanding their experiences and changes in the environment.
Description
Keywords
《三六九小報》, 《風月》, 女性影像, 臺灣攝影, “3-6-9 Tabloid”, “Fong-Yue”, female images, Taiwanese photography