本文主要在於討論攝影影像的特殊性，即從攝影發明之初便與生命之紀錄及其弔詭：與「死亡」之間的關係，並從藝術作品中來加以論證，以當代藝術家波坦斯基（Christian Boltanski）的作品爲例來說明，進而分析波坦斯基藝術作品中照片運用的方式、特色及其手法，試圓了解照片作爲一種當代藝術表現的媒介。
論文主要分爲兩個部份進行：首先，從攝影發展的過程來看照片所引起的反應，尤其是照片與生命存有之紀錄及死亡之間的關係，以班雅明（Walter Benjamin）、羅蘭．巴特（Roland Barthes）的看法爲例。第二部份則直接切入波坦斯基的藝術作品來討論，進一步分析其藝術作品的特徵，尤其是照片在作品中的使用手法與意義。
最後發現照片對波坦斯基或當代藝術家而言，如同一種另類的說故事的方法，不僅爲當代藝術開闢了新的發展面向，同時也是一種自我治癒的精神分析法，以求在已逝的影像中尋回生命的解答。
攝影、死亡、班雅明、羅蘭．巴特、波坦斯基
This paper aims at discussing the particularity of photography images. That is in the very early stage of photography invention, it has implied a complicated relation of records of life and death. My arguments would base on art works and especially, that of contemporary artist Christian Boltanski. The analysis of the methods, characteristics and techniques used in Boltanski works will be conducted so as to enhance further understanding of the functions of photos as an expressive medium of contemporary art.
This paper includes two main parts. First, I would explore responses to pictures from the development of photography. The relations among pictures, recording of life and existence, and death would be placed under scrutiny. In the process, Walter Benjamin's and Roland Barthes' related theories will be discussed. The second part will focus on the works of Boltanski with a close analysis of their features, especially how he uses pictures in his works and what significances does that have to offer?
Finally, my tentative conclusion is that to Boltanski as well as other contemporary artists, pictures serve as an alternative way of telling a story. It not only explores new dimension of contemporary art, but also brings forth a kind of self-healing psychoanalytic approach which helps to search an answer to life via dead images.
photography, death, Benjamin, Roland Barthes, Christian Boltanski
