在本期專題裡，我們埋首雜誌報刊堆中，透過梳理台灣、中國和香港攝影雜誌的出版歷程，作為初探東亞影像刊誌的歷史迴路及攝影文化脈動連結的支點，試圖疊映出這個影像時代過去與現在的考驗和變貌。
走過日本殖民與國府戒嚴的重重歷史，歷經戰後攝影發展的流變，台灣影像雜誌的存在與承續，彷若一趟崎嶇蜿蜒的旅程——陳佳琦追蹤台灣攝影刊物的沓雜步履，瞭望島嶼影像出版百年來的起落波潮；張世倫重訪七〇年代發行的《ECHO》英文漢聲雜誌，追述這份台灣民俗調查攝影先鋒刊物的歷史脈絡與文化影響；梁秋虹考掘日治期間出版的「黃色刊物」，剖析台灣女性作為視覺消費商品的殖民結構與政治關係；李威儀蒐集台灣戒嚴年代官方編印發行的「今日」系列政宣畫刊，探查國府曾經透過出版啟動的對外影像心戰。
在對岸中國，長久以來由政府當局全面管控的媒體與出版體系，塑造了「具中國特色」的攝影媒介生態——顧錚回看自1949年至今、在文革到改革開放帶來的政經變化下，攝影雜誌所承載的理想、現實與時代肌理；此外，何伊寧書寫近年中國獨立刊物的多樣風景，體現這些在限制中試圖開拓道路的紙本與網路同人誌的某種可能與想像，為中國攝影注入了不同以往的革新感與清新氣息。放眼香港，李泳麒則細數自戰後以來發行的眾多香港攝影刊物，揭示早期攝影雜誌與左派團體的隱密關係，以及面對商業市場的掙扎取捨，回溯這些影像刊誌曾經點燃的火花。
本期Artist’s Showcase單元，我們專訪台灣藝術家侯怡亭，在她的作品《歷史刺繡人》系列中，藉由刺繡、勞動生產與殖民時期歷史照片的交疊展現，反射出社會集體意識灌輸的性別設定與身體感。在「Q」單元裡，法國攝影雜誌《The Eyes》創辦人文森．馬熙哈希與我們分享這份新的半年刊的編輯概念以及他對攝影的前線觀察；同時，我們也造訪巴黎視覺藝術空間「LE BAL」，一探這個位在紅燈區、前身曾是酒館舞廳的展演場，如何變成新穎的歐洲影像文化據點。
我們在籌備本期專題、記述這些影像刊物生命史之時，特別能夠感受到催生與維持一份刊物背後所需付出的心血與懷抱的理想，在此我們向眾出版人們致敬。出版的路上時而快意、時而蹌踉，我們也想再次感謝親愛的《攝影之聲》讀者給予這份刊物持續的動力，謝謝你與我們一起共度這段雜誌時光。
In this issue of VOP, we combed through and compiled numerous photo publications from Taiwan, China and Hong Kong. Using this as a fulcrum in our primary examination of the historical development and cultural ripples of photo publications in East Asia, we tried to map the past and current challenges and transformation of this age of images.
Through the Japanese colonization and martial law eras, the existence and evolution of post-war photo publications in Taiwan is not unlike a winding journey. Chia-Chi Chen traces the complex development and the ups and downs of Taiwanese photographic journals in the last century; Shih-Lun Chang revisits ECHO, a magazine published in the 1970s, and recounts the historical context and cultural influence of this pioneering publication on Taiwanese folklore and documentary photography. Chiu-Hong Liang takes a look at “adult publications” from the Japanese colonial period and examines the relationship between politics and the colonial structure of objectifying Taiwanese women as a form of visual consumer product. Wei-I Lee puts together the Today series of KMT government propaganda materials published during the martial law era and explores how the government engaged in psychological warfare through the use of such publications.
Over in China, the media and publication industry, which has long been heavily controlled by the state, has given birth to a photographic media ecology with “Chinese characteristics.” Gu Zheng takes a look at how political and economic changes since the Cultural Revolution and the Reform Era gave shape to the expectations, reality and texture that photo publications have had to bear since 1949. Yi-Ning He also explores how independent publications in China, in an attempt to blaze a trail in a much-restricted environment, with their dedication to possibility and imagination, have brought with them a new sense of innovation and a breath of fresh air into the scene of Chinese photography. Turning to Hong Kong, Wing-Ki Lee showcases Hong Kong’s post-war photo magazines and recounts their impact on the society as he reveals the close relationship between early photo publications and leftist groups and their struggles with the commercial market.
In this issue’s “Artist Showcase”, I-Ting Hou tells us how her work Lík-sú Tsiam-tsílâng reflects gender definition and sensory perceptiveness instilled by the social collective consciousness through the overlapping historical photographs of embroidery and labor productivity from the colonial period. In the “Q” segment, Vincent Marcilhacy, the founder of French photography magazine The Eyes, shares with us his editorial concept for this new magazine and his first-hand observations of photography. At the same time, we also pay a visit to Le Bal, a visual art space in Paris, and see its transformation from a haven of drinks and dance to a new cultural stronghold in Europe.
While preparing for this volume of VOP, we had renewed respect for all the work and effort these publications put in as we articulate their histories. Hence, we would like to pay tribute to our fellow publishers. The same time, we also want to express our gratitude to our beloved VOP readers for giving us the reason to persevere with this publication. The road of publishing is at times smooth-sailing, and at times discouraging. Thank you for always staying with us on this journey.
本期目錄 Contents
● 攝影雜誌？台灣脈絡下的多元光景
Photography Magazines? The Many Varieties in Taiwan
文｜陳佳琦 Text by Chen Chia-Chi
● 目光的回視與挪移：英文版漢聲雜誌《ECHO》（1971-1978）的攝影史意義
Reflecting and Shifting of Perspectives: The Significance of ECHO Magazine(1971-1978) in the History of Photography
文｜張世倫 Text by Chang Shih-Lun
● 黃色刊物考——日本時代台灣的一段女性史
A Study of Adult Publications: A History of Women During Japanese Colonial Period in Taiwan
文｜梁秋虹 Text by Liang Chiu-Hung
● 中國攝影雜誌小史——1949年至今
A Brief History on Chinese Photography Magazines: 1949 to Now
文｜顧錚 Text by Gu Zheng
● 中國當代獨立攝影雜誌出版觀察
Observations on Contemporary Chinese Independent Photo Magazine Publishing
文｜何伊寧 Text by He Yi-Ning
● 掀開香港攝影雜誌六十年
Flipping Open Sixty Years of Photo Magazines in Hong Kong
文｜李泳麒 Text by Lee Wing-Ki
● Photobooks and Taiwan
以「今日」之名——台灣七、八〇年代的海外政宣畫刊
In the Name of “Today”: Taiwan’s Overseas Political Propaganda Periodicals in 70s and 80s
文｜李威儀 Text by Lee Wei-I
Artist’s Showcase
歷史刺繡人 Li̍k-sú Tsiam-tsílâng
侯怡亭 Hou I-Ting
訪談｜錢怡安 Interview by Lili Chien
● 影像香港 Image Hong Kong
「明」與「黎」（上）——1850年之前的香港攝影
The Dawn of Photography in Hong Kong (Part 1): Photography Before 1850
文｜黎健強 Text by Edwin K. Lai
● Photobook Club
文｜後藤由美 Text by Yumi Goto
Q
紙本超連結——專訪法國《The Eyes》雜誌創辦人 文森．馬熙哈希
Papier Connecté: Interview with Vincent Marcilhacy
訪談｜張瑋 Interview by Chang Wei
巴黎視覺藝術新據點——LE BAL
LE BAL—— The New Visual Arts Landmark In Paris
訪談｜張瑋 Interview by Chang Wei
● 台灣攝影的年度聚會——Photo Eye
The Annual Photography Party in Taiwan——Photo Eye
文｜編輯部 Text by VOP Editors
Bookmark
文｜錢怡安 Text by Lili Chien