研究生: |
陳志力 CHAN CHEE LEK |
---|---|
論文名稱: |
蜷川實花攝影風格應用於圖畫書創作之研究 A Study: Application of Ninagawa Mika’s Photography Style on Picture Book Creation |
指導教授: | 伊彬 |
學位類別: |
碩士 Master |
系所名稱: |
設計學系 Department of Design |
論文出版年: | 2011 |
畢業學年度: | 99 |
語文別: | 中文 |
論文頁數: | 89 |
中文關鍵詞: | 日本攝影 、蜷川實花 、圖畫書 |
英文關鍵詞: | Japanese photography, Ninagawa Mika, picture book |
論文種類: | 學術論文 |
相關次數: | 點閱:220 下載:75 |
分享至: |
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報 |
本研究目的是把攝影師蜷川實花的創作特質應用與圖畫書的創作上。蜷川實花是日本當代著名的女性攝影師。她曾經多次獲得權威性的攝影獎項並掀起了「女性攝影風潮」。其作品主要以人像、花卉及金魚為主題,並以畫面絢爛奪目的顏色據稱。曾多次獲得攝影界獎項,其中包括具權威性的「第26回 木村伊兵衛写真賞」、「第13回 VOCA展大原美術館賞」等,是日本當代攝影界的中流砥柱。本研究對日本攝影發展、蜷川實花的背景與攝影歷程、圖畫書進行文獻探討,以了解相關知識。之後進行蜷川實花作品蒐集,進行直觀視察與作品歸類,最後分析出蜷川實花的創作特質並應用於圖畫書製作上。經研究分析本研究把蜷川實花作品分成13類:1. 自然女性、2. 時尚女性、3. 情境設置女性、4. 和風女性、5. 自然男性、6. 時尚男性、7. 情境設置男性、8. 和風男性、9. 其他人像、10. 天然花卉、11. 人造花卉、12. 金魚、13. 其他。歸納得出,蜷川實花的作品有以下特質:1.以「生命之美」為創作主軸、2.攝影主題具討喜性、3.攝影理念延伸自「自寫生」、4.作品具虛構元素、5.色彩炫目、6.符合普普藝術特質。最終分析得到之特質應用於圖畫書創作,製作出符合兒童性、藝術性、教育性、傳達性與趣味性的圖畫書。
Ninagawa Mika is one of the top-notch female photographers in Japan for the last decade. Not only that she has won many prestigious awards, she is also a key figure of “girls photography” phenomena. Portraits, flowers and gold fishes are her primary subject matter and she is well known of her dazzling colors visual expression.The research’s aim was to study Ninagawa’s works, analyze them, and to apply the attributes into a picture book production. The study process involved collection of Ninagawa’s works as sample, classification, characteristics analysis and finally application into picture book production. The study had classified the samples into 13 categories : 1. Natural female, 2. Fashion female, 3.Set-up female, 4. Traditional Japanese Female, 5. Natural male, 6. Fashion male, 7.Set-up male, 8. Traditional Japanese male, 9. Other portraits, 10. Natural flowers, 11. Synthetic Flowers, 12. Gold fishes and 13.Other. The study found Ninagawa’s works possess the following characteristics: 1.themed on “Beauty of life”, 2.consists of adorable subject matters, 3.based on “Shi-Shashin”, 4.contain fictional elements, 5.dazzling color expression and 6.meet pop art attributes.From there the research applied the concluded characteristics into a creation process, producing a picture book that met the following criteria: children suitable, artistic, educational, expressive, and interesting.
中文文獻
伊彬、鄧逸平、黃永宏(2004)。從中華兒童叢書(1965-1999)到信誼基金會(1979-2001)出版兒童圖畫書插畫風格之演變及其意義。藝術教育研究,7,23-55。
伊彬、黃姿瑛、陳怡今(2010)。記錄性圖畫書創作模式:以洲美國小為核心的社區風貌呈現。國立台灣師範大學舉辦:國際設計創作與實務研討會論文集(pp. 305-316),台北:國立台灣師範大學設計研究所。
林敏宜(2000)。圖畫書的欣賞與運用,台北:心理。
南雲治嘉(2008)。繪本設計,台北:楓書坊文化。
章光和(2005)。攝影不是藝術。台北:田園城市文化。
章伊秀(2003)。西洋美術小史。台中:好讀。
蜷川實花(2007)。尋找幸運星(黃碧君譯)。台北:布克文化。
鄭意萱(2007)。攝影藝術簡史。台北:藝術家。
英文文獻
Nigel, A., & Hoyle, M. (2008). Colourful cure for post-beijing blues. Financial Times. London: Financial Times Group.
Bardsley, J. (2010). Teaching geisha in history, fiction, and fantasy. Asianetwork exchange, 17(2), 23-38.
Marsh, E. (2007). Bright eyes. WWD, 193(75), 4.
Friis-Hansen, D. (2003). Internationalization, individualism and the institutionalization of photography. In A.Tucker (eds.) The history of Japanese photography (pp. 260-303). Italy : Mandadori.
Iizawa, K. (2003). The evolution of postwar photography. In A.Tucker (eds.) The history of Japanese photography (pp. 208-259). Italy : Mandadori.
Iizawa, K. (1995). The shock of real early photography in Japan. In R.Sterns (eds.) Photography and beyond Japan (pp. 37-49). Tokyo: Hara Museum of Contemporary Art.
Kohara, M. (2005) Translated by Richard Watts. a portrait of Takuma Nakahira. In Camera Austria 91/2005 (pp. 9-20). Austra: Camera Austria Kunsthaus.
Matsui, M. (2010). Earthly flowers, heavenly colors: the aesthetic universe of Mika Ninagawa. In Ninagawa Mika (pp. 42-48). New York: Rizzoli International Publications, Inc.
Ninagawa, M. (2006). Everlasting Flower. Tokyo: 株式會社小學館.
Ninagawa, M., Moriyama, D., Iizawa, K. (2010). A discussion on photography: the color of light, the sensuality of darkness. In Ninagawa Mika (pp. 38-40). New York: Rizzoli International Publications, Inc.
Nojima, Y. (2003). Black and white photography. Leeds: Institute of Communications Studies, University of Leeds.
O‘Leary, T. F. (2009). Tokyo vision: Contemporary Japanese photography and the search for a subjective documentary. California: University of Southern California.
Sterns, R. (1995). Introduction. In R.Sterns (eds.) Photography and beyond Japan (pp. 8-13). Tokyo: Hara Museum of Contemporary Art.
網路資料
Bellis, M. (n/d). History of photography. Retrieved 2011.4.3 from: http://inventors.about.com/od/pstartinventions/a/stilphotography.htm
Bonetti, D. (2001). Picturing prewar japan / exhibition shows connection to west, affinity for pictorialism. Retrieved 2010.10.18 from: http://articles.sfgate.com/2001-07-25/entertainment/17608345_1_japanese-photographers-laszlo-moholy-nagy
Canon New Cosmos Photography (n/d). Retrieved 2010.9.12 from: http://www.canon.com/scsa/newcosmos/gallery/1996/mika_ninagawa/index.html
Carl, K. (2006). Surrealistic effects of war. Retrieved 2010.9.1 from: http://www.sbmuseart.org/uploadedfiles/New%20Modern%20release%20FINAL.pdf
Favell, A. (2008). Contemporary ‘girl photography’ from japan. In J-WAVE USA (p.5). Retrieved 2010.11.10 from: http://www.se.rit.edu/~jrv/research/ar/introduction.html#Section1.1
Nakamura, H. (2008). The intimate mirror of contemporary japanese ‘girl photography’. In J-WAVE USA(pp. 6-11). Retrieved 2010.11.11 from: http://www.se.rit.edu/~jrv/research/ar/introduction.html#Section1.1
Ninagawa Mika Official Website (n/d). Retrieved 2010.11.11 from: http://www.ninamika.com/
Ono, P. (2007). Homma Takashi. Retrieved 2010.10.12 from: http://photoguide.jp/txt/ HOMMA_Takashi
Ono, P. (2009). Hatakeyama Nayoa. Retrieved 2010.09.30 from: http://photoguide.jp/txt/ HATAKEYAMA_Naoya
Ono, P. (2010). Japan photo history. Retrieved 2010.10.1 from: http://photoguide.jp/txt/ Japan_Photo_History
Restrepo, V. (n/d). Pictorialism. Retrieved 2011.2.11 from: http://www.vrestrepo.com/ two/page7.html
Rod, S. (2005). The Surface of Seeing. Retrieved 2011.2.13 from: http://www.mocp.org/ exhibitions/2005/05/painting_on_pho.php
Roth, N. (2005). Painting and photography. Retrieved 2011.2.11 from: http://www. vrestrepo.com/two/page7.html
Solt, J. (2001). Perception, misperception, nonperception. Retrieved 2010.10.3 from: http://www.milkmag.org/solt-kansuke2.html
川口美保(n/d)。Switch Interview with Mika Ninagawa。搜尋於2010.12. 1,自http://switch.excite.co.jp/070220/interview/pickup/01.html
日本攝影獎(2009)。搜尋於2011.2.10,自http://cn.explore.ne.jp/culture/art/ photoprize.php
石川雅彦(2008)。父の教え?学校でも口笛。搜尋於2010.12.11,自http://www.asahi.com/edu/student/tensai/TKY200812290102.html
石川雅彦(2008)。「観念」と「生理」の産物ね。搜尋於2010.12.11,自http://www.asahi.com/edu/student/tensai/TKY200812220163.html
石川雅彦(2009)。雨粒ついたクモの巣、きれい?。搜尋於2010.12.11,自http://www.asahi.com/edu/student/tensai/TKY200901120142.html
石川雅彦(2009)。過激な「家訓」に従順に成長。搜尋於2010.12.12,自http://www.asahi.com/edu/student/tensai/TKY200901190226.html
石川雅彦(2009)。注いだ愛情、ベタベタのベタベタ。搜尋於2010.12.12,自
http://www.asahi.com/edu/student/tensai/TKY200901260162.html
朱源泉、柯倩華、曹俊彥(2002)。從小扎根 -談繪本教育的重要性。法鼓山佛教教育園區大階梯教室座談會現場錄音稿。搜尋於2011.01.23,自http://mypaper.pchome.com.tw/skoob/post/1268083028
李賢輝(2008)。寫實主義與自然主義的藝術。搜尋於2011.2.10,自http://vr.theatre.ntu.edu.tw/fineart/th9_1000/index.html
李長安(n/d)。攝影與繪畫。搜尋於2011.2.10,自
http://www.cphoto.net/sysb/60.htm
里娜(2008)。概說攝影史與攝影藝術觀念的轉型。搜尋於2011.2.10,自http://www.epochtimes.com/b5/8/6/6/n2144989.htm
黃亞紀(2008)。日本當代藝術視聽室 之前與之後。搜尋於2010.09.11,自http://diary.blog.yam.com/perceptionU/article/6651253
蜷川実花の父(2009)。搜尋於2010.12. 1,自http://resist.cocolog-nifty.com/blog/2009/06/post-e16f.html
蘇湘雲(2010)。解讀蜷川實花《花魅力》。搜尋於2010.12.11,自http://www.nownews.com/2010/11/09/11595-2662554.htm