本文以1860至1911年間外國旅華攝影師在中國的攝影作品為研究對象，致力於討論中國「舊照活化」文化現象中同一批照片在19世紀末20世紀初的西方與20世紀90年代以降的當代中國這兩個不同的社會語境和時段中的具體運用方式，以考察照片、歷史敘述、民族國家政治意識形態之間的關係，試圖在「雙時軌」的對比結構中為晚清攝影研究打開新的探討空間。 / 論文主體部分圍繞著「國家」、「民族」和「革命」這三個當代晚清攝影運用中的關鍵概念展開，分析攝影作品內部的話語變化，以及與這種變化息息相關的「主體性」與文化政治問題。第二章以晚清旅華攝影師代表約翰·湯姆遜的中國成像為討論對象，在比較1874年在英國出版、湯姆遜自主編纂的附圖遊記《中國與中國人影像》與2009年由中國官方出版界重新選編的《晚清碎影》的基礎上，具體呈現不同的主體在「想像晚清中國」和「呈現晚清中國」上的差別。第三章繞著當代晚清相冊中的「民族」選題而展開，探討「少數民族」與「中華民族」的表現方式及其缺陷。第四章著重討論「辛亥革命」在當代晚清相冊中的表現方法，以《壹玖壹壹：從鴉片戰爭到軍閥混戰的百年影像史》為例，分析照片集如何在一個通俗歷史的框架下處理「辛亥革命」這一歷史節點。在此基礎上，結論部分總結了舊照活化文化現象下「國家」與「歷史敘述」的同構關係，並以「視覺」為中心，分析了以攝影為材料的歷史敘述如何建構「民族-國家」視野下的身份認同。 / The China’s early photographs have enjoyed a drastic revival of attentions in the recent decades. An important category of these photos are those taken by Westerners during the late Qing China. This thesis aims to investigate these subjects from a cultural historical perspective, the photos are thus considered as a form of representation instead of visual history materials, and a comparative approach was employed to discuss the complex relationship among photo image, imperialism, history narrating under the political structure of nation-state and China’s contemporary social reality. / Photographs which were taken by the Westerners during the late Qing China emerged in the age of European capitalism and imperialist expansion. After the year 1860, China was defeated by the British-French Alliance in the Second Opium War and the Qing government was forced to open up to the treat and culture of the west. This change attracted Westerners of different occupations, including commercial photographers, explorers and journalists, to photograph various geographical and social aspects that are of their interests. The kinds of photographed subjects they chose and the kinds of commentaries they made vividly reflected how they understand China from the imperialism point of view. / A hundred years later, these late Qing photos become an important part of the "old photo revival" wave raised in the 1990s China. Much different from the time when they were created, these photos were used as raw materials to construct the popular historiography of imperial China that fulfils the meta-historical definition of a Nation-State. This was achieved by the means of re-organizing photos in albums and exhibitions, and rewriting the original meanings and the contexts of specific photos based on the concept of "Nation", "State" and "Revolution". / In this thesis, I will focus on comparing the usages of these photos at the time they were produced and now in contemporary China, demonstrate the relationship between the visual representation and ideology by analyzing representative photographers’ works and representative albums. In Chapter Two, I discuss the photographs taken by John Thomson, who is representative of the traveler-photographer of his time, by comparing the album compiled by himself (Illustrations of China and Its People) in 1874 and the album reconstructed by China’s official publisher (Through The Lens of John Thomson, 1868-1872) in 2009. The differences between "imagining the late-Qing China" and "representing the late-Qing China" will be shown. Chapter Three is developed based on the subject of "Nation-Ethnic" as seen in the contemporary Late-Qing related albums. The ways of representing "Ethnic Minority" and "Chinese National" (Zhonghua minzu) as well as their drawbacks are discussed. Chapter Four probes into the representation of "Xinha Revolution" in the contemporary late-Qing album. Using Liu Heung Shing’s From The Opium War to The Warlord Eraas an example, the chapter analyses how such historical event is represented though album under the logic of historiography. Final chapter emphasize the connection between history narrating and the power structure, and concludes the relationship among photography-based historical narrative, visual powerand the "Nation-State" identity. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 李瀟雨. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 229-236). / Abstracts also in English. / Li Xiaoyu.
| Identifer | oai:union.ndltd.org:cuhk.edu.hk/oai:cuhk-dr:cuhk_1202891 |
| Date | January 2014 |
| Contributors | 李瀟雨 (author.), Chinese University of Hong Kong Graduate School. Division of Cultural Studies. (degree granting institution.), Li, Xiaoyu (author.) |
| Source Sets | The Chinese University of Hong Kong |
| Language | Chinese, English |
| Detected Language | English |
| Type | Text, bibliography, text |
| Format | electronic resource, electronic resource, remote, 1 online resource (vii, 236 leaves) : illustrations, computer, online resource |
| Coverage | China, 1861-1912, China, 1644-1912 |
| Rights | Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/) |
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