作者 ｜
劉瑞琪(成功大學藝術研究所)
摘要 ｜
辛蒂．雪曼的《無題電影停格》系列（1977-80），一直被視為女性主義藝術與後現代主義攝影的里程碑。雪曼在這六十九張黑白攝影當中，似曾相識地扮裝成陪伴她成長的主流電影中的女性刻板印象，吸引了多采多姿的女性主義解讀。但是，既有的女性主義藝評，都聚焦於探討：雪曼的扮裝到底是順應或者解構鞏固父權秩序的男性觀視？卻枉顧女性觀者對雪曼作品的反應。本文試圖彌補這個缺憾，希望藉由確實的視覺分析，輔以雪曼的言論、既有的評論與文化的脈絡，並與女性主義電影理論與後現代思潮展開對話，開創性地分析與詮釋雪曼作為主流電影的觀者，如何以她的扮裝展現出女性特有的觀看方式？而女性觀者又如何與她的作品互動，交涉出以女性為主體的觀看之道？
關鍵字 ｜
辛蒂．雪曼，女性觀者，女性主義藝術，後現代主義攝影，扮裝，諧擬
Title ｜
Desperately Seeking Female Spectators: Cindy Sherman’s Untitled Film Stills
Author ｜
Jui-Ch'i Liu(Cindy Sherman, female spectators, Feminist Art, postmodern photography, masquerade, parody)
Abstract ｜
Cindy Sherman’s Untitled Film Stills (1977-80) are a landmark body of work in the history of both the Feminist Art and postmodern photography. In this series of 69 black-and-white photographs, the artist acts out and plays with a variety of female stereotypes in the mainstream films from her childhood and teenage. Her masquerade has beguiled plenty of feminist interpretations. However, all of them focus on contesting if Sherman’s masquerade reinforces or subverts the domestication of the female body by the male voyeuristic and fetishistic gaze under patriarchy. Female spectators’ reception of Sherman’s masquerade renders invisible. This article, based on the analyses of Sherman’s work, statement, criticism, and cultural context, will attempts to deal with female spectatorship in relation to Sherman’s masquerade. The author will also employ feminist film theory and postmodern thought to analyze how Sherman as a female spectator negotiates her response to female stereotypes in the mainstream films? How female spectators of the Untitled Film Stills, through their imaginary interaction with Sherman’s masquerade, negotiate their specific ways of seeing?