The Anxiety of Representing the Other and Reflecting the Self: Guan

Xiao-Rongs Photographs of Lanyu

ii

Abstract
There is always an argument about how to speak for the other in
documentary photography. This thesis focuses on Guan Xiao-Rongs photographs of
Lanyu in the late 1980s. From these images of life, traditional culture, and political
resistance of Taos people, I want to explore how a non-aboriginal photographer
intervenes in an aboriginal race and represents their images. I will discuss that Guan,
in his works, tries to identify with young persons who protest the problem of nuclear
waste shipment, and with children who are forced to accept Hans education system.
He attempts to reflect himself by those photographs that shoot the tourists shooting
the aboriginals. He also produces ideal images of Taos people working and living in
a traditional way. In these images, Guan tries to reject the violent behavior of
tourists and represents a kind of aboriginal images differing from some ethnic
stereotypes. In the other words, a colonial gaze in most of the aboriginal
photographs in Taiwan does not appear in Guans works. He tries his best to
represent them seriously in every series of his works. Hence, although Guan is one
of Han, he shows his identification with the unprivileged aborigine by a
self-reflexive attitude. Many critics address that documentary photography always
exploits victims, such as aboriginal people, just for achieving the photographers
personal business. Facing this moral dilemma, Guan shows his ethical concern of the
aboriginal people through displaying his anxiety and self-examination. I want to
emphasize that this is the most important characteristic of Guans works. Through
reading Guans works deeply, I think highly of such a self-conscious documentary
photographer in the history of photography of Taiwan.

Keywords:
Guan Xiao-Rong, Lanyu (The Island of Orchid), Tao, documentary photography,
photojournalism, aborigine, The other, self-reflection, identity, the image of children,
tourist imperialism, stereotype

iii

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24
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25

1977

26
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24

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26

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Andr Bazin,

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 Roland Barthes

27

28

objectsignifiersignified

29 Rosalind Krauss

30

27
28
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30

Michael Starenko, Sontag's Reception, in Afterimage, 25: 5

( Mar/Apr, 1998), p. 6David L. Jacobs, Regarding Sontag, Again, in Afterimage, 25: 5
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Charles Sanders Peirce
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Mieke Bal and Norman Bryson, Semiotics and Art

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10

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33

80

34

31

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33
Geoffrey Batchen, Burning with Desire: The Conception of Photography (Massachusetts: MIT
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34
Derrick Price and Liz Wells, Thinking About Photography, p. 38.
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35

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37

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36
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Richard Bolton, Introduction, in The Contest of Meaning, ed. Richard Bolton (Cambridge,
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5
Richard Bolton, Introduction, p. xvi.
12

1987

1987

13

documentary photography
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38
39
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Naomi RosenblumWalker
Evans

40

41

38

39

40
41

Abigail Soloman-Godeau, Photography at the Dock (Minneapolis: The University of Minnesota

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14


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Gilles Mora, Photo Speak (New York: Abbeville, 1998), p. 142.

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20


2 349

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50
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22

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(Summer, 1992), pp. 12-13.
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1996
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20
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Robert
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Colin
Westerbeck, Joel Meyerowitz, Bystander: A History of Street Photography (Boston: Bulfinch,
1994 ) , p. 264.

30

77

77

Anne Higonnet, Pictures of Innocence (New York: Thames and Hudson, 1998), p. 7.
31

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Anderson

32


78

16

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79

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80
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80

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1993

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34
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81

82

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1989
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35

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11

The Landing of the Pilgrim Fathers

85

1978

83

84

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9-11Robert Bocock,

1994
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1929

70
Shawn Michelle Smith, Photographing the American Negro: Nation, Race, and Photography at
the Paris Exposition of 1900, in With Other Eyes: Looking at Race and Gender in the Culture, ed.
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36

86
1978
20

87

12

88

89

86

87

88
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7

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15

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18

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92

90

91
92

Peter Burke, Eyewitnessing: The Use of Images as Historical Evidence (London: Reaktion, 2001),
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93

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94
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30
95
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93
94

95

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40

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1980
99

100

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Anne Higonnet, Pictures of Innocence, pp. 115-117.

Susan H. Edwards, Ben Shahn: The Road South, in History of Photography, 19: 1 (Spring 1995),
pp. 13-19.
98
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89-95
99
George Dimock, Children of the Mills: Re-Reading Lewis Hines Child-Labour Photographs, pp.
51-52.
100

42 40
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Patricia Holland
102

103

101
102
103

2000

Patricia Holland, What Is A Child ?, in Photography/ Politics: Two, ed. Patricia Holland, Jo
Spence and Simon Watney (London: Comedia, 1986), pp. 43-53.

2000
23-25
42

Judith Fryer Davidov

104

victim photography

105

104

105

Judith Fryer Davidov, Womens Camera Work: Self/Body/Other in American Visual Culture
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Martha Rosler, In, Around, and Afterthoughts (On Documentary Photography), in The Contest
of Meaning, pp. 306-307; Abigail Solomon-Godeau, Photography at the Dock, pp. 176-179.
43

15

106

106

44

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22

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John Urry, The Tourists Gaze: Leisure and Travel in Contemporary Societies (London: Sage,
1990), p. 139.
46

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Margaret Mead, Anthropology and Camera, in The Encyclopedia of Photography Vol. I, ed.
William Morgan (New York: Greystone Press, 1963), p. 166. A. D. Coleman, Depth of
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and Tourists, in A New History of Photography, ed. Michel Frizot (Kln: Knemann, 1994), pp.
148-166; Andr Rouill, Exploring the World by Photography in the Nineteenth Century, in A
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50

113

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114

1877
1895

1965
1967 1970

115

116
113
114

115

116

Patricia Holland, Sweet It Is to Scan, in Photography: A Critical Introduction, pp. 112-114.

2 1994 1
17-27

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233-246

1998
123
51


117

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tourist gaze
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119 22

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52

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120
23

22

22 23

120

Christian Metz, The Imaginary Signifier: Psychoanalysis and the Cinema (Bloomington: Indiana
University Press, 1977), pp. 59-60.
53


121

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Roman Jakobson
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122
24
-
123

121

122
123

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Abigail Solomon-Godeau, Photography at

the Dock, p. 100; Patricia Waugh,

1995
3-5
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Abigail Soloman-Godeau, Photography at the Dock , pp. 56-58.
54

25

55

124 -

20

124

Louis Giannetti,

1992
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125 75
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79-80
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Ann Kaplan
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Maxwell
135

133

134

135

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Edward Curtis
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1993 11
12-13
Anne Maxwell, Colonial Photography and Exhibitions, pp. 49-52.
67

136

137 Stuart Halllabeling

stereotyping

138
fixity139

William E. McRae

140
136
137

138

139
140

Edward Said

1999
81
Andrew Edgar and Peter Sedgwick, eds., Key Concepts in Culture Theory (London: Routledge:
1999), pp. 380-381.
Stuart Hall, Representation: Cultural Representations and Signifying Practices (London: Sage,
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58
1999 1
85-111
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Peter van Lent

141

imaginary other

nowhere
142

90

143

141

142
143

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1998
61-87

19 1998 7
105-123

2000
36-39
69

5060
36

144
144

25
70

37

37

71

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146

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148 26

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145
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148

48

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191

72

149

40

31 40

149

134
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Gyrgy Lukcs

150

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151

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152

150

151
152

Gyrgy Lukcs,

1988
1-14
G. H. R. Parkinson,

1999

120-161

136
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41

154

155

153
154
155

141

1993
189-191

134
75

76

156

157

156

157

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81

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2001

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125 1999 3 82-84

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---------
http://www.photosharp.com.tw/discussion/Wu/wu-6.htm
1998
1996
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4 74-82

Asia View
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1990
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61 1997 10 219-224

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---------http://www.365uol.com/read/art-08-reading.htm

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84

---------
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17-27

1999 9 20 41
2000

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91
2000 4 93-95
1988
1995 5
6
1993
Althusser, Louis, 1989
Anderson, Benedict,

2001 2 18 -19 23
Barthes, Roland, 1997
Bazin, Andr,

1995
Benjamin, Walter,
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Berger, John, 1998
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Burton, Julianne,
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Foucault, Michel,
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Giannetti, Louis, 1992
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Nochlin, Linda, 1998
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2001 1 31 11

88

2001 1 31 11

The Family of Man

1979

Ansel Adams
Richard AvedonEugene Smith

89

Fortune

80

90

91

92

1967

1967

93

94

95

Dorothea Lange

96

85 5

97

10 10

Josef Koudelka

Robert Capa

98

99

100

1.

2. 1988 2 20

3.

1988
101

4.

5.

6.

102

7.

8.

9.
103

10.

11.
(1899)

12.
104

13.

14.

16.

15.

105

17.

18.

19.
106

20.

21.

107

22.

23.

108

24.

1933

25.

109

26-3
26-1

26-4

26-8

26-2

26-5

26-7

26-6

26-9

26-10

110

26-13

26-11

26-12

26-14

26-15

26-17
26-16

26-18

26-19

26-20

111

26-21

26-22
26-23

26-24

26-27

26-30

26-25

26-26

26-29

26-28

26-31
112

27.

28.

29.

113

31.

30.

32.

114

33.

1920

34.

35.

1896

36.

115

37.

1974-1975

38.

1974-1975

39.
1897
116

41.

42.
40.

43.

117