本文探討塔奇塔．迪恩2001年的蝕刻凹版系列作品《俄羅斯結局》，檢視當中的圖文關係。在這組作品裡頭，藝術家藉由媒材之間的跨界相交，讓原本眼見為憑的紀實攝影得以拓展其所指涉的內容。為了支持這個論點，本文仔細爬梳迪恩運用的各種手寫技法，看她如何自原始照片衍生出虛構敘事，將圖像置入不同的歷史架構內，並於畫面上疊加電影拍攝的指令，以及，示意每個場景所遭遇的機運之吻。透過親手操作，迪恩將她所發現的二十世紀初照片轉化為一系列的蝕刻凹版；照片因此不再囿於純粹指涉的功能，從而告訴我們更多這個世界的蛛絲馬跡。
電影、羅蘭．巴特、塔奇塔．迪恩、紀實、手寫、跨媒材、攝影
This article examines the relationship between word and image in a suite of photogravures produced by Tacita Dean in 2001 entitled The Russian Ending. It is argued that this intermedial encounter expands the signifying content of documentary photographs beyond that which is visible on their surface. This thesis is supported by an analysis of the different uses to which handwriting is put in the work. This includes the creation of fictions derived from the original photographs, the placement of images within different historical frameworks, the superimposition of cinematic directions, and the signaling of chance features that have impinged on each photographed scene. In her transformation of 'found photographs' of early twentieth-century disasters into a series of hand manipulated photogravures, Dean liberates photographic images from indexicality and broadens the nature and extent of information that they communicate about the world.
cinema; Roland Barthes; Tacita Dean; documentary; handwriting; intermediality; photography
