本論文試圖從1935年的《始政四十周年記念臺灣博覽會會誌》以及《始政四十周年記念臺灣博覽會寫真帖》此兩份檔案中與臺灣博覽會相關的攝影照片作為閱讀對象，討論這些影像檔案的文件意義，並由攝影史的角度出發，探討當時的攝影活動與攝影新技術的展現，希冀更深入窺探日本殖民歷史與臺灣攝影現代性經驗之間的關係。
本文主要以「博覽會內的照片展示」、「博覽會下的攝影活動」與「紀錄博覽會的攝影檔案」三個面向來探查1935年的博覽會之攝影史料，從博覽會的照片使用與展示，看見攝影如何作為視覺載體、負責展示政績並教化的作用；而博覽會下的攝影活動則引領出了30年代的臺灣社會出現寫真攝影風潮的部分面向；最後，關於臺灣博覽會的攝影檔案，則可以看見攝影不僅協助檔案的紀錄與留存，更可以發現從這些紀錄檔案中窺見影像視覺現代性經驗之出現。
臺灣博覽會的影像檔案，不僅讓我們看見攝影技術、攝影的流行，同時也可以看見現代的視覺政治與帝國的視線。
攝影、寫真、臺灣博覽會、檔案、視覺現代性
From reading photographs and related archives of Documents of Taiwan Exhibition of the Fortieth Anniversary of Governance and Shashin Choof Taiwan Exhibition of the Fortieth Anniversary of Governance, this article discuss the meaning of these images archives which about activities and new techniques of photography, intending to understand the relationship of the Japanese Colonial Period and the visual modernity experience in Taiwan.
Photographic display in exhibition, photographic activities in exhibition and photographic archives about exhibition are three points this article trying to provide, then the interaction and cooperation between photography, exhibition, and visual politics from empire in modern history will be observed. First of all, to analyze photographic display in Exhibition, the education attempt behind a photo will be discover. Secondary, to survey photographic activities in exhibition can reach a small dimension in the trend of photography in 1930s. At last, to reading photographic archives about exhibition can help us finding out the construction of visual modernity in the Japanese Colonial Period.
Photography, Shashin, Taiwan Exhibition, Archives, Visual Modernity
