簡易檢索 / 詳目顯示

研究生: 雷雅淳
論文名稱: 女性身體之幻化-辛蒂‧雪曼(Cindy Sherman)藝術之研究
指導教授: 王哲雄
學位類別: 碩士
Master
系所名稱: 美術學系
Department of Fine Arts
論文出版年: 2004
畢業學年度: 92
語文別: 中文
論文頁數: 239
中文關鍵詞: 辛蒂‧雪曼女性主義藝術後現代主義藝術扮裝女性詭態男性凝視
論文種類: 學術論文
相關次數: 點閱:296下載:60
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
  • 美國女性藝術家辛蒂‧雪曼於一九七○年代末期開始發表一輯名為《無題電影停格》的攝影作品,雪曼同時是其作品的模特兒與攝影師,她在作品中扮演成盛行於歐美五○、六○年代初期電影中各式的女性形象,發表之後引起各家學者熱烈討論。之後雪曼陸陸續續發表作品,她自己仍然是扮演模特兒與攝影師的角色,時而扮裝成獨立自信的女性、憂傷的青少女,有時則變成恐怖的怪物,甚至被噁心的嘔吐物圍繞,有時又化身為歷史肖像畫中的人物。雪曼作品最特殊之處即是觀眾總是可以在畫面中尋到雪曼的身影,然而令人訝異的是,一九九○年代初期作品的主角則變成醫學用的義肢與人體模特兒,此時雪曼不再出現於畫面中,直到一九九○年代中期雪曼才又再度出現於作品中,不過此時她並不是大張旗鼓地宣示自己的出現,而是默默躲在面具後只露出一雙眼睛。
    雪曼崛起於一九七○年代末期,此時女性主義與後現代主義藝術經歷了十多年的發展,亟需援引範例驗證其論點,而雪曼取材自大眾媒體中女性形象的作品、使用攝影作為表達媒材、與同時身為攝影師與模特兒的種種特質,便成為藝評家們討論的重點。以道格拉斯‧克林普為首的藝評家以雪曼的作品為例,舉出後現代藝術的特質,包括影像的挪用(appropriation)、擬像(simulacrum)、劇場性與擁抱大眾文化的強烈立場等等;女性主義藝評家大都以「男性凝視」為依據,爭論雪曼的作品是否為女性主義意識下的產物。然而,雪曼對加諸於她身上的種種理論,一向抱持著不以為然的態度,她拒絕作品被貼上任何固定的標籤,而期望作品能有更多元的解釋與觀眾。上述眾多評論家對雪曼作品的解讀是本研究論述的重要課題,更重要的是還要由雪曼的訪談內容與藝術創作,探究其創作的真正意圖。

    目錄 論文摘要 緒論…………………………....................................................................................... 1 第一章 辛蒂‧雪曼的藝術形塑……………………………………………………..20 第一節 辛蒂‧雪曼的藝術啟蒙………………………………………………21 第二節 辛蒂‧雪曼的工作方法與藝術觀……………………………………34 第二章 電影劇照到真實電影的出現—《無題電影停格》至《辦公室殺手》…45 第一節 無題電影停格………………………………………………………..46 第二節 從理想到厭棄的移動………………………………………………..55 第三節 歷史肖像……………………………………………………………..66 第四節 混種玩偶與真實的電影……………………………………………..71 第三章 辛蒂‧雪曼作品的特質…………………………………………………….80 第一節 攝影作為媒材工具……………………………………………………81 第二節 作品中女性的身體……………………………………………………86 第三節 扮裝與表演藝術………………………………………………………96 第四節 女性詭態……………………………………………………………..102 第四章 辛蒂‧雪曼作品中的理論與實踐…………………………………………109 第一節 雪曼反對理論的一貫立場…………………………………………110 第二節 後現代主義氛圍之影響……………………………………………114 Ⅰ.從現代到後現代…………………………………………………………...114 Ⅱ.雪曼的作品與後現代主義………………………………………………...123 第三節 與女性主義理論之關連……………………………………………134 Ⅰ.女性主義觀點的藝術史研究……………………………………………..134 Ⅱ.女性主義的支持者或反對者?…………………………………………..140 第五章 辛蒂‧雪曼的策略與回應………………………………………………..153 第一節 由女性的觀點出發…………………………………………………154 第二節 恐怖與幽默並存……………………………………………………164 結論…………………………………………………………………………………174 參考文獻……………………………………………………………………………179 作品大事紀…………………………………………………………………………191 人名索引……………………………………………………………………………192 專有名詞索引………………………………………………………………………201 圖版…………………………………………………………………………………202 圖版索引……………………………………………………………………………237

    (一)書籍
    史帝文‧貝斯特(Steven Best)與道格拉斯‧凱爾納(Douglas Kellner)著,朱世鴻譯。《後現代理論:批判的質疑》(Postmodern Theory: Critical Interrogations)。台北:巨流圖書公司,1994年。
    華特‧班雅明著,許綺玲譯。《迎向靈光消逝的年代》。台北市 : 臺灣攝影工作室, 1998。
    Atkins, Robert. Art Spoke: A Guide to Modern Ideas, Movement and Buzzwords, 1848-1944. New York: Abbeville Press, 1993.
    Baktin, Mikhail. Rabelais and His World.1968. Trans. Helene Iswolsky. Bloomington : Indiana University Press, 1984.
    Barthes, Roland. Mythologies. Trans. Annette Lavers. New York: Hill and Wang, 1972
    Barthes, Roland. “The Old Thing.” Post –pop Art. Ed. Paul Taylor. Cambridge: The MIT Press, 1989.
    ________ Camera Lucida: Reflections on Photography. Trans. Richard Howard. New York : Hill and Wang, 2000.
    Battersby, Christine. Gender and Genius: Towards a Feminist Aesthetics. Bloomington : Indiana University Press, 1989.
    Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton And Philip Beitchman . New York: Semiotext(e), 1983.
    Berger, John. Ways of Seeing. London: Penguin Books, Ltd., 1972.
    Blessing, Jennifer. Prose is a Prose is a Prose: Gender Performance in Photography. New York: Guggenheim Museum Publications, 1997.
    Bonfren, Elizabeth. “ The Other Self of the Imagination: Cindy Sherman’s Hysterical Performance.” Cindy Sherman: Photographic Work 1975-1995. Eds. Zdenek Felix and Martin Schwander. Munich: Schirmer Art Books, 1995.
    Brittan, David. Creative Camera : Thirty Years of Writing. Manchester, U.K. : Manchester University Press, 1999.
    Bryson, Norman. ” House of Wax.” Cindy Sherman, 1975-1993. Ed. Rosalind Keauss. New Yoek: Rizzoli, 1993.
    Burgin, Victor. Thinking photography. London: Macmillan, 1982.
    ________, James Donald, and Cora Kaplan. Formations of Fantasy. London:
    Matheun, 1986.
    Butler, Judith. Bodies That Matter : On the Discursive Limits of "Sex". New York : Routledge, 1993
    Clarke, Graham. The Portrait in Photography. London : Reaktion Books, 1992.
    ________ The Photograph. Oxford: Oxford University Press, 1997.
    Crimp, Douglas. “Picture.” Art After Modernism: Rethinking Representation. Ed. Brain Wallis New York: New Museum of Contemporary Art and Boston: David R. Godine, 1984.
    Crimp, Douglas. On the Museum’s Ruins. Cambridge: The MIT Press, 1993.
    Cruz, Amanda, Elizabeth A. T. Smith, and Amelia Jones. Cindy Sherman: Retrospective. Chicago and Los Angeles: Thames and Hudson, 1997.
    Danoff, I. Michael.” Cindy Sherman: Guises and Revelations.” Afterword to Cindy Sherman. New York: Pantheon Books, 1984.
    Danto, Arthur, C. Untitled Film Stills: Cindy Sherman. Munich: Schirmer Art Books, 1990.
    _______ Cindy Sherman: History Portrait. New York: Rizzoli International Publications, 1991.
    Debord, Guy. Society of the Spectacle. Detroit : Black & Red, 1983.
    Doy, Gen. “Cindy Sherman: Theory and Practice. ” Art Has No History: The Making and Unmaking of Modern Art. Ed. John Roberts London and New York: Verso, 1994.
    Douglas, Susan J. Where the Girls Are: Growing up Female with Mass Media New York: Times Books, 1994.
    Ewen, Stuart and Elizabeth. Channels of Desire: Mass Images and the Shaping of American Consciousness. Minneapolis: University of Minnesota Press, 1992,
    Featherstone, Mike. Consumer Culture and Postmodernism. London: Sage, 1991.
    Felix, Zdenek, and Martin Schwander, ed. Cindy Sherman: Photographic Work 1975-1995. Munich: Schirmer Art Books, 1995.
    Foster, Hal, ed. The Anti-Aesthetics: Essays on Postmodern Culture. Washington: Bay Press, 1983.
    _________ The Return to the Real: The Avant-Garde at the End of the Century. Cambridge, MA and London: The MIT Press, 1996.
    _________ed. Recordings : Art, Spectacle, Cultural Politics. New York: The New Press, 1999.
    Freud, Sigmund. (1910)“ Leonardo da Vinci and a Memory of His Childhood.” The Standard Edition of the Complete Psychological Works of Sigmund Freud vol. 3, Trans. J. Strachey ( London: Hogarth Press. 1955
    ________(1914) “On Narcissism.” The Standard Edition of the Complete Psychological Works of Sigmund Freud vol. 11, Trans. J. Strachey ( London: Hogarth Press. 1957)
    ________ (1919)“ The Uncanny.” The Standard Edition of the Complete Psychological Works if Sigmund Freud. Vol.17, Trans. J. Strachey (London: Hogarth, 1957)
    ________(1927)“ Humor.” The Standard Edition of the Complete Psychological Works of Sigmund Freud vol. 21, Trans. J. Strachey ( London: Hogarth Press. 1957)
    Frueh, Joanna. “The Body Through Women’s Eyes.” The Power of Feminists Art: The American Movement of the 1970s, History and Impact. Eds. Norma Broude and May D. Garrard. New York: Harry N. Abrams, 1994.
    Goldberg, Roselee. Performance Art—From Futurism to the Present. London: Thames& Hudson, 2001
    Hadsell, Kristina Anne. Cindy Sherman: The Real VS. Simulation. Long Beach: California State University Press, 2001
    Hall. James, B., and Barry Ulanov. ed. Modern Culture and The Arts. New York : McGraw-Hill, 1967.
    Hassan, Ihab. The Dismemberment of Orpheus : Toward a Postmodern Literature, Madison : University of Wisconsin Press, 1982.
    Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington and Indianapolis: Indiana University Press, 1986
    Hutcheon, Linda. A Theory of Parody:The Teachings of Twentirth-Century Art Forms.New York: Methuen, 1985.
    Irigaray, Luce. This Sex Which Is Not One. Trans. Catherine Porter. Ithaca: Cornell University Press, 1985
    Jameson, Fredric. Signatures of the Visible. New York: Routledge, 1990.
    Jencks, Charles. Post-Modernism: The New Classicism in Art and Architecture, London : Academy Editions, 1987.
    Kaplan E. Ann. Women and Film: Both Sides of the Camera. New York: Routledge, 1990.
    ________ ed. Postmodernism And Its Discontents, Theories, and Practices. London: Verso, 1988.
    Kellner, Douglas. ed. Baudrillard: A Critical Reader. Oxford: Blackwell Publishers, 1994.
    ________ Media Culture: Cultural Studies, Identity, and Politics Between the Modern and the Postmodern. London ; New York : Routledge, 1995.
    Kimmelman, Michael. Portraits: Talking with Artists at the Met, the Modern, the Louvre, and Elsewhere. New York: The Modern Library, 1999.
    Krauss, Rosalind. Cindy Sherman 1975-1993. New York: Rizzoli, 1993.
    ________ Bachelors. Massachusetts: The MIT Express, 2000.
    Kristeva, Julia. Desire in Language: A Semiotic Approach to Literature and Art. Ed. Leon Roudiez Trans. Tom Gara, Alice Jardine and Leon Roudiez. New York:
    Columbia University Press, 1980.
    Kruger, Barbara, and Phil Mariani. Remaking History. Seattle: Bay Press, 1989.
    Lucie-Smith, Edward. Sexuality in Western Art. New York : Thames and Hudson, 1991.
    Martin, F. David, and Lee A. Jacobus. The Humanities Through the Arts. New York: McGraw-Hill, 1975.
    Miles, Margaret. “ Carnal Abominations: The Female Body as Grotesque,” Carnal Knowing: Female Nakedness and Religious Meaning in the Christian West. Ed. James Luther Adams and Wilson Yates. New York: Vintage Books, 1989.
    Nancy L. Miller, Getting Personal: Feminist Occasions and Other Autobiographical Acts. New York and London: Routledge,1991.
    Morris, Catherine. The Essential Cindy Sherman. New York: Harry N. Abrams, Inc., 1999.
    Mooney, Ted. “Cindy Sherman: An Invention For Two Voices”. Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman. Ed. Schelley Rice .Massachusetts: The MIT Press, 1999.
    Narine, Sandy. The State of the Art: Ideas and Images in the 1980s. London: Chatto &Windus, 1987.
    Neuaier, Diane. Reframing: A New American Feminist Photographies. Philadelphia: Temple University Press, 1995.
    Nochlin, Linda. Women, Art and Power. New York: Harper& Row, 1988.
    Owens, Craig. “The Discourse of the Others: Feminists and Postmodernism.” Beyond Recognition: Representation, Power, and Culture. Ed. Scott Bryson . Berkeley, Los Angeles, and Oxford: University of California Press, 1992.
    Phelan, Peggy. Unmarked : The Politics of Performance. London and New York : Routledge, 1993.
    Pollock, Griselda. Vision and Difference: Femininity, Feminism and Histories of Art. London: Routledge, 1988.
    ________ ed. Generations and Geographies in the Visual Arts: Feminist Readings. London: Routledge, 1996.
    Poster, Mark. ed. Jean Baudrillard, Selected Writings. Stanford: Stanford University Press, 1988.
    _______ The Second Media Age. Cambridge: Polity Press, 1995.
    Ragheb, J. Fiona. “Artists’ Biographies-Cindy Sherman.” Prose is a Prose is a Prose: Gender Performance in Photography. Ed. Jennifer Blessing. New York: Guggenheim Museum, 1997.
    Riviere, Joan. “ Womanliness as a Masquerade.” Formations of Fantasy. Ed. Victor Burgin, James Donald, and Cora Kaplin. London: Metheun& Co, 1986.
    Rosenblum, Naomi. A World History of Photography. New York: Abbeville, 1997.
    Russo, Mary. The Female Grotesque: Risk, Excess, and Modernity. New York: Routledge, 1994.
    Salomon, Nanette. “ The Art Historical Canon: Sins of Omission,” Gendering Knowledge: Feminism in Academe. Ed. Joan Hartmann and Ellen Messer-Davidow. Knoxville: University of Tennessee Press, 1991.
    Schapiro, Meyer. Theory and Philosophy of Art: Style, Artist, and Society. New York: George Braziller, 1994.
    Sherman, Cindy. Cindy Sherman. Shiga, Japan: Museum of Modern Art, 1996.
    Sherman, Cindy. The Complete Untitled Film Stills. New York: The Museum of Modern Art, 2003.
    Schjedahl, Peter. “The Oracle of Images.” Cindy Sherman (exhibition catalogue). New York: Whitney Museum of American Art, 1987
    Schwarz, Heinrich, ed. Art and Photography: Forerunners and Influences. Rochester: Gibbs M. Smith, Inc.; Peregrine Smith Books in Association with Visual Studies Workshop Press. 1985.
    Sekula, Allan. “ On the Invention of the Photographic Meaning.” Thinking Photography. Ed. Victor Burgin . London: Macmillan, 1982.
    Siegel, Jeanne. Art Talk: The Early 80s. New York: DaCapo Press, 1990.
    Sills, Lesile. In Real Life: Six Women Photographers. New York: Holiday House, 2000.
    Silverman, Kaja. “Histoire d’ O: The Construction of a Female Subject.” Pleasure and Danger : Exploring Female Sexuality. Ed. Carol Vance. Boston : Routledge & K. Paul, 1984
    Slatkin, Wendy. Women Artists in History from Antiquity to the 20th Century. Englewood Cliffs, NJ: Prentice Books, 1984.
    Slatkin, Wendy. The Voices of Women Artists. Englewood Cliffs, N.J. : Prentice Hall, 1993.
    Smith, Elisabeth A. T. “The Sleep of Reason Produces Monsters.” Cindy Sherman Retrospective (exhibition catalogue). New York and London: Thames and Hudson, 1997.
    Soloman-Godeau, Abigail. Photography at the Dock. Essays on Photographic History, Institutions, and Practices. With a forward by Linda Nochlin. Minneapolis: University of Minnesota Press, 1991.
    Neumaier, Diane. Representing Women: The Politics of Self-Representation, In Reframings: New American Feminist Photographies. Philadelphia: Temple University Press, 1995.
    Stacey, Jackie. Star Gazing: Hollywood Cinema and Female Spectatorship. London and New York: Routledge, 1994.
    Szarkowski, John, “ The Photographer’s Eye.” Modern Culture and the Arts. Ed. James B. Hall and Berry Ulanov. New York: McGraw-Hill Book Company, 1967.
    Taylor, Paul. Post-Pop Art. Cambridge: Mit Press, 1989.
    Tseelon, Efrat. The Masque of Femininity. The Presentation of Woman in Everyday Life. London: Sage Publications, 1995.
    (二)期刊
    王雅各(1988)〈身體:女性主義視覺藝術在再現上的終極矛盾〉,《婦女與兩性學刊》,9:1-54。
    劉瑞琪(2000)〈女性主義藝術史研究方法論〉,《近代中國婦女研究》,8:195-235。
    黎怡 (1996) 〈自戀﹖自強﹖自嘲﹖--看辛蒂.雪曼「Cindy Sherman」的照片〉,《雄獅美術》,302:94-96。
    Adato, Allison. “ Cindy Sherman: An Artist’s Movie- Inspired Pictures Land Her a Blocbuster Deal.” Life Magazine, (May 1996), 120-24.
    Aletti, Vince. “ The Lady Vanishes.” Village Voice, (15-21 November).
    Coleman, A.D. ’ Cindy Sherman’s Untitled Films’ at the Museum of Modern Art’, the Speed of Light, A.D. Coleman on Photography and Related Matters (on-line), 1997.
    Crimp, Douglas. “ Pictures.” October, (Spring 1979), 75-88.
    Danto, Arthur, C. “ Cindy Sherman; Whitney Museum, New York.” The Nation, (15 August 1987), 134-37.
    Frankel, David. “ Cindy Sherman.” Artforum, (November 1999), 136.
    _______ ” Cindy Sherman Talks to David Frankel.” Artforum, (March 2003), 132-137.
    Frascella, Larry. “ Cindy Sherman’s Tales of Terror.” Aperture, (Summer 1986), 49.
    Fuku, Noriko. “ A Woman of Parts.” Art in America. (June 1997), 74-81, and 125.
    Fuller, Graham. “ The Real Scream Queen.” Interview, (December 1997), 9.
    Gardner, Paul. “ Waking Up and Warming-up.” Artnews, (October 1992), 114-117.
    Goldberg, Vicki. “ Portrait of a Photographer as a Young Artist.” New York Times, (23 October 1983, sec2), p.29.
    Greenberg, Clement. ‘Avant-Garde and Kitsch’ ,Partisan Review (Fall 1939), pp.34-49.
    Greenberg, Emily B. “ Cindy Sherman and the Female Grotesque.” Art Criticism, (Spring 1996), 49-55.
    Grundberg, Andy. “ When Photographers Aim Their Cameras at Themselves.” New York Times, (17 November 1985. sec2), 32.
    _________ “ The 80’s Seen through a Postmodern Lens.” New York Times, 5 (July 1987, sec2), 25.
    Helfand, Glenn. ‘ Cindy Sherman: From Dream Girl to Nightmare’. Salon, (December, 1997).(on -line)
    Hoban, Phoebe. “ Sherman’s March.” Vogue, (February 1997), 240-43, and 278.
    Homes, A. M. “ Cindy Sherman is Ready for Her Close-up.” Mirabella, (November/Dcember 1997), p.44.
    Johnson, Ken. “ Cindy Sherman and the Anti-Self; An Interpretation of her
    Imagery.” ARTS Magazine, (November 1987), 49.
    ________ “ Cindy Sherman at Metro Pictures.” Art In America. (May 1995), 112.
    Klinger, Linda S. “ Where’s the Artist? Feminist Practice and Poststructural Theories of Authorship.” Art Journal, (Summer 1991), 39-47.
    Koestenbaum, Wayne. “ Cindy Sherman: New Photographs, 2000.” Artforum, (September 2000), 148-51.
    Kozloff, Max. “ Variations on a Theme of Portraiture.” Aperture, (Spring 1989), 6-15.
    Krauss, Rosalind E. “ Cindy Sherman’s Gravity: A Critical Fable.” Artforum, (September 1993), 163-64.
    Leffingwell, Edward. “ Cindy Sherman at Metro Pictures.” Art in America, (June 2001), 126.
    Linker, Kate. “ On Richard Prince’s Photographs.” ARTS Magazine, (November 1982), 120-22.
    Loewenberg, Ina. “Reflections on Self-Portraiture in Photography.” Feminist Studies, (Summer 1999), 29-31.
    Lust, Herbert.“ For Women Are Endless Forms: Hans Bellmer’s Dark Art.” Sulfur (Summer 1990), p.37.
    Meagher, Michelle. “ Would the Real Cindy Sherman Please Stand Up? Encounters between Cindy Sherman and Feminist Art Theory.” Women : A Cultural Review, (Fall 2002), 18-32.
    Marzorati, Gerald. “ Imitation of Life.” Artnews, (September 1983), 78-87.
    ________ “ Self –Possessed.” Vanity Fair , (October 1985).
    McRobbie, Angela. “ Cindy Sherman; 1975-1993 Book Review.” New Statesman and Society, (3 December 1993), 37-38.
    Mifflin, Margot. “ Performance Art: What is it and where is it going?” Artnews , (April 1992), 84-89.
    Mulvey, Laura. “ Visual Pleasure and Narrative Cinema.” Screen 16( Autumn 1975), 6-18.
    ________ “ A Phantasmagoria of the Female Body: the Work of Cindy Sherman.” New Left Review, (July/ August 1991), 136-150.
    Muschamp, Herbert. “ Knowing Looks, Cindy Sherman’s Sixty-Mine 70s.” ArtForum, (Summer 1997), 106-11.
    Nesbit, Molly.” Bright Light, Big City: the 80’s without Walls.” Artforum, (April 2003), 91-103
    Nilson, Lisbet. “Q&A: Cindy Sherman,” American Photographer, (September 1983).77-77.
    Pirl, William. “ On the Couch with Cindy Sherman,” Artnews, (December 1998), 168.
    Rimanelli, David. “80 Reduce: Pictures Reframed.” Artforum, (October 2001), 37-50.
    Robotham, Rosemarie. “ One Woman Show, Cindy Sherman Puts her Best Foot Forward.” Life Magazine,( June 1984), 14-22.
    Schor, Mira. “ From Liberation to Lack.” Heresies, 1989, 15-21.
    Schjeldahl, Peter. “ Valley of the Dolls: Cindy Sherman’s Return to Form.” The New Yorker. (7 June 1999),94-95.
    Schwabsky, Barry. “ Cindy Sherman.” Artforum, (January 2001), 132.
    Small, Michael. “ Photographer Cindy Sherman Shoots Her Best Model-Herself.” People, (30 November 1987), 157-58.
    Williamson, Judith. “ Images of Woman.” Screen, (November-December 1983), 102-16.
    Wolkomir, Richard and Joyce Wolkomir. “ You Are What You Buy.” Smithsonian, (October 2000), 102-09.

    QR CODE