Winning Works
得獎作品
Objective Reality｜蘇琮盛
貮獎 Second Prize
媒體制定了一套觀看下的標準女性形象，並教導人們標準內的女性才具有被觀看的價值。然而被觀看的女性並不是以他原本的樣子展現，而是以觀看者希望的樣子所展現。在物化的機制中，唯有把女性的身體當成觀賞的物品，它才會成為商品。觀看中的他是具有絕對權力的消費者，彷彿為了滿足他的觀看慾望，眼前這值得被觀看的女子油然而生。媒體所呈現出來的真實是經過中介選擇與處理的，但拜資訊發達所賜，逐漸模糊真實與再現之間的界線。
The mass media create a very specific standard of female beauty, and brainwash people into only considering a woman to be even worth looking at if she conforms to this standard. But even if a woman does so, she is no longer showing the world her own, original appearance, but rather an adjusted image of the kind the observer wishes and expects to see. As women are objectified in this way, they become a product designed in accordance with very specific criteria. The mass of consumers, by demanding to see this kind of image and none other, have the absolute power to constantly reinforce this narrowly defined standard of what is an acceptable image of “woman” and what isn’t. Such artificial, iconic images therefore spread and multiply throughout society, appearing as the only reality of what “woman” looks like, when in truth they are the product of selecting and processing certain images over all others. Last not least, ubiquitous modern information technology serves to further blur the lines between “reality” and “image.”
■ 拍攝地點 Location：台灣 Taiwan
Objective Reality｜蘇琮盛
貮獎 Second Prize
媒體制定了一套觀看下的標準女性形象，並教導人們標準內的女性才具有被觀看的價值。然而被觀看的女性並不是以他原本的樣子展現，而是以觀看者希望的樣子所展現。在物化的機制中，唯有把女性的身體當成觀賞的物品，它才會成為商品。觀看中的他是具有絕對權力的消費者，彷彿為了滿足他的觀看慾望，眼前這值得被觀看的女子油然而生。媒體所呈現出來的真實是經過中介選擇與處理的，但拜資訊發達所賜，逐漸模糊真實與再現之間的界線。
The mass media create a very specific standard of female beauty, and brainwash people into only considering a woman to be even worth looking at if she conforms to this standard. But even if a woman does so, she is no longer showing the world her own, original appearance, but rather an adjusted image of the kind the observer wishes and expects to see. As women are objectified in this way, they become a product designed in accordance with very specific criteria. The mass of consumers, by demanding to see this kind of image and none other, have the absolute power to constantly reinforce this narrowly defined standard of what is an acceptable image of “woman” and what isn’t. Such artificial, iconic images therefore spread and multiply throughout society, appearing as the only reality of what “woman” looks like, when in truth they are the product of selecting and processing certain images over all others. Last not least, ubiquitous modern information technology serves to further blur the lines between “reality” and “image.”
■ 拍攝地點 Location：台灣 Taiwan
Objective Reality｜蘇琮盛
貮獎 Second Prize
媒體制定了一套觀看下的標準女性形象，並教導人們標準內的女性才具有被觀看的價值。然而被觀看的女性並不是以他原本的樣子展現，而是以觀看者希望的樣子所展現。在物化的機制中，唯有把女性的身體當成觀賞的物品，它才會成為商品。觀看中的他是具有絕對權力的消費者，彷彿為了滿足他的觀看慾望，眼前這值得被觀看的女子油然而生。媒體所呈現出來的真實是經過中介選擇與處理的，但拜資訊發達所賜，逐漸模糊真實與再現之間的界線。
The mass media create a very specific standard of female beauty, and brainwash people into only considering a woman to be even worth looking at if she conforms to this standard. But even if a woman does so, she is no longer showing the world her own, original appearance, but rather an adjusted image of the kind the observer wishes and expects to see. As women are objectified in this way, they become a product designed in accordance with very specific criteria. The mass of consumers, by demanding to see this kind of image and none other, have the absolute power to constantly reinforce this narrowly defined standard of what is an acceptable image of “woman” and what isn’t. Such artificial, iconic images therefore spread and multiply throughout society, appearing as the only reality of what “woman” looks like, when in truth they are the product of selecting and processing certain images over all others. Last not least, ubiquitous modern information technology serves to further blur the lines between “reality” and “image.”
■ 拍攝地點 Location：台灣 Taiwan
Objective Reality｜蘇琮盛
貮獎 Second Prize
媒體制定了一套觀看下的標準女性形象，並教導人們標準內的女性才具有被觀看的價值。然而被觀看的女性並不是以他原本的樣子展現，而是以觀看者希望的樣子所展現。在物化的機制中，唯有把女性的身體當成觀賞的物品，它才會成為商品。觀看中的他是具有絕對權力的消費者，彷彿為了滿足他的觀看慾望，眼前這值得被觀看的女子油然而生。媒體所呈現出來的真實是經過中介選擇與處理的，但拜資訊發達所賜，逐漸模糊真實與再現之間的界線。
The mass media create a very specific standard of female beauty, and brainwash people into only considering a woman to be even worth looking at if she conforms to this standard. But even if a woman does so, she is no longer showing the world her own, original appearance, but rather an adjusted image of the kind the observer wishes and expects to see. As women are objectified in this way, they become a product designed in accordance with very specific criteria. The mass of consumers, by demanding to see this kind of image and none other, have the absolute power to constantly reinforce this narrowly defined standard of what is an acceptable image of “woman” and what isn’t. Such artificial, iconic images therefore spread and multiply throughout society, appearing as the only reality of what “woman” looks like, when in truth they are the product of selecting and processing certain images over all others. Last not least, ubiquitous modern information technology serves to further blur the lines between “reality” and “image.”
■ 拍攝地點 Location：台灣 Taiwan
Objective Reality｜蘇琮盛
貮獎 Second Prize
媒體制定了一套觀看下的標準女性形象，並教導人們標準內的女性才具有被觀看的價值。然而被觀看的女性並不是以他原本的樣子展現，而是以觀看者希望的樣子所展現。在物化的機制中，唯有把女性的身體當成觀賞的物品，它才會成為商品。觀看中的他是具有絕對權力的消費者，彷彿為了滿足他的觀看慾望，眼前這值得被觀看的女子油然而生。媒體所呈現出來的真實是經過中介選擇與處理的，但拜資訊發達所賜，逐漸模糊真實與再現之間的界線。
The mass media create a very specific standard of female beauty, and brainwash people into only considering a woman to be even worth looking at if she conforms to this standard. But even if a woman does so, she is no longer showing the world her own, original appearance, but rather an adjusted image of the kind the observer wishes and expects to see. As women are objectified in this way, they become a product designed in accordance with very specific criteria. The mass of consumers, by demanding to see this kind of image and none other, have the absolute power to constantly reinforce this narrowly defined standard of what is an acceptable image of “woman” and what isn’t. Such artificial, iconic images therefore spread and multiply throughout society, appearing as the only reality of what “woman” looks like, when in truth they are the product of selecting and processing certain images over all others. Last not least, ubiquitous modern information technology serves to further blur the lines between “reality” and “image.”
■ 拍攝地點 Location：台灣 Taiwan