摘要
Lomography，是由一台前蘇聯時代製造的簡易相機，Lomo，所引發的攝影新風潮。這股流行風潮始於1992年，由兩個奧地利的學生所發起，進而發展為全球年輕人之間的熱門話題。Lomography簡單說來，是一種生活態度。對愛好者而言，Lomo相機拍出的作品是否符合一般攝影的賞析標準，並不重要。重要的是，Lomo相機能夠讓他們忘卻俗世煩憂。本論文的重點並非討論攝影美學或是相機功能評鑑，而是這股風潮如何竄起，同時又如何地暴露出人們對攝影的偏見。我認為，Lomography風潮是根基於快照攝影文化，並加以重新包裝為新世代揭露自身的工具。Lomography強調攝影不須背負器材和技巧上的投資，只要抱持著隨興自由的態度，便可抓住充滿活力的一刻，甚至，可以將煩亂的日常生活，轉化為圖像般簡單易懂和容易掌握。本文希望藉由從攝影史的角度，為Lomography未來與其他研究面向的結合打下基礎。藉由回顧Lomography的原型，即快照攝影的發展史，我們可以發覺Lomography沿用了快照攝影的基礎，很快便能吸引眾多使用者，並突破快照攝影實踐和格局上的限制。但Lomography同時也陷入了快照攝影的困境，即僵化的表現方式。藉由參照法國藝術家玻東斯基三件以家庭快拍照作為媒材的作品，我們從中可發現Lomography無法真正突破人們加諸於快照攝影上的期待，反而更加確認了攝影不需要思考的偏見。Lomography在另外一方面也陷入快照攝影的商業化模式，以致於演變為「文化工業」，無法真正揭露新時代的感知方式，而僅成為新世代必備的流行商品之一。最後，藉由分析台灣的Lomography風潮，並以此推論全球的Lomography風潮，了解到新世代對於攝影史知識的不足乃是造成這股流行的主要原因之一。

Abstract
This thesis is not about photographic aesthetics or camera performance test, but about under what conditions Lomography is constructed and constricted. Through reviewing the development of the ancestor of Lomography, snapshot photography, I will argue that Lomography repackages traditional snapshot photography as a tool of representation to render everyday life as conscious record in the new millennium. By referring to French artist Christian Boltanski''s works, we can find how Lomography is confined to the social convention and becomes another stereotype. Lomography at first emerges as a grass-roots movement responding to the post-Cold War era but now it is transformed into "culture industry." Lomography propagates through the commodity distribution so that it trains a group of royal consumers instead of photographers. What lies behind Lomography is the sale of commodities which reiterate the character of traditional snapshot photography whose function is to increase the image consumption into undreamed of industrial dimensions. Lomography on the one hand refreshes the snapshot aesthetic, and on the other hand it is limited by the commercial character of traditional snapshot photography. Finally, by analyzing the development of Lomography in Taiwan, I conclude that the new generation''s lack of knowledge of photography is the motive behind this cult phenomenon.

Content
Chapter One:
Lomography, Snapshot Photography and Camera Clubs……………………1
Chapter Two:
The Aesthetic and the Instrumental Attitude of Lomography………………26
Chapter Three:
Lomography and Commodity Culture………………………………………49
Chapter Four:
Lomography in Taiwan………………………………………………………70
Conclusion………………………………………………………………………..84
Works Cited…………………………………………..…………………………..87
Appendix A……………………..……………………………………………….. 93
Appendix B…………………….………………………………………………... 94

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Lomo PLC
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Tokyo LomoHeadz
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