美國攝影師Walker Evans（1903-1975）在1935年進入美國農業安定局（簡稱FSA）從事大蕭條時期的攝影工作，並於1938年於紐約現代美術館展出美國史上第一位攝影師的個展《美國相片》，推出同名之展覽圖冊；1941年出版與Agee共同合作的《現在讓我們讚譽名人》攝影文集。Evans長達40多年的攝影經歷，不僅在當時引發討論，更帶給後輩攝影師在紀實形式上的啟發。

本論文主要討論Evans的紀實攝影風格，由於Evans成熟時期的拍攝適逢美國經濟蕭條，大蕭條的環境背景促使了「紀實攝影」的形成，這批攝影拍攝大量南方農村的景像，充斥著南方貧困、哀痛甚至絕望的表現，帶有強烈的人道關懷，以及社會使命感；然而，儘管Evans於1935至1936年間為FSA從事拍攝工作，但其冷靜、客觀的影像表現，清晰與嚴謹的構圖形式，與FSA當時的紀實攝影表現大相逕庭，但Evans卻以「紀實風格」自居，引發筆者探究1930年代的紀實攝影，與Evans之間的關係為何。

這些問題將分為三個層面做探討。首先在第一章中，討論孕育Evans風格養成的背景，從中發現Evans的攝影養成除了深受新即物主義、以及法國Eugène Atget、美國Paul Strand等攝影師的影響外，其兒時生長的工業環境，使他對於廣告招牌符號印象深刻，以及大學時期的文學教育也開啟他對文字的敏銳度，都反映在他的《美國相片》中。他運用編排的方式使影像除了觀看，更具有閱讀性。第二章中，討論紀實攝影之於1930年代的特殊意義，筆者先對紀實一詞的定義做爬梳，其次分析FSA的紀實攝影的人道表現，再探討Evans《現在讓我們讚譽名人》一書中的影像與文字，區分出Evans如何不同於當時的紀實表現。第三章進一步探究Evans的拍攝方式，Evans長時間的觀察與緩慢的拍攝過程，形塑了Evans清晰影像的建立，而新即物主義的影響，以及所使用的8x10cm景觀相機決定了正面形制的構圖。Evans將大量的廣告招牌納入鏡頭內，使畫面儘管看似冷靜客觀，卻依然負載著大量訊息，以及Evans所隱匿的攝影師視野。

綜合以上論點可以發現，儘管Evans身處在以人道關懷為主的攝影年代，卻不因時代框架住他的視野，他藉由冷凝的鏡頭包裹著自身的情感，兼顧思想與藝術的特質，為攝影開拓了新的格局，因此，Evans的攝影實是跨越時代性的突破。

American Photographer Walker Evans entered Farm Security Administration (FSA) in 1935, engaged in the documentary project during The Great Depression. In 1938, Evans had the first one-man photography exhibition American Photographs in Museum of Modern Art, and published the catalogue with the same title. In 1941, Evans cooperated with Agee in the documentary book Let Us Now Praise Famous Men. Evans has worked in photography for more than 40 years, caused much discussion, and also inspired the forms of documentary photography later photographers.

This study mainly focuses on Evans’s documentary style, which matured during The Great Depression. The social background of The Great Depression nurtured the formation of documentary photography, and most photographs were taken in the rural south of America, and they were filled with the expressions of sorrow, poverty and hopelessness, with strong humanitarianism and the social mission. Although Evans worked for FSA from 1935 to 1936, his cool and objective image, clear and rigorous composition, are different from FSA’s style.

The question of Evans’s documentary style is discussed from three levels. In Chapter One I discuss the background of how Evans built his photographic style. We find that Evans was influenced by Eugène Atget and Paul Strand; in addition, he grew up in the industrial city so that he was impressed by the billboards and movie posters. When he went to college, literary education heightened his sensitivity of words. These effects all reflected in his American Photographs, in which he used sequence to allow viewers not only to see the images, but to read.

In the Chapter Two, I discuss the specific meanings of documentary photography in the 1930s, analyze the photographs produced by FSA, and investigated the words and images of Evans’s book Let Us Now Praise Famous Men, with a focus on its differences from the photographs of the era. In Chapter Three, I explore Evans’s photographic process and find out that he spent very long time observing the subjects and ensured the clarity of the image. Evans was affected by the New Objectivity, and the equipment of 8x10 camera helped determine his frontal format. In Evans’s images, there are numerous billboards, which seem cool and objective, but are loaded with abundant messages and Evans’s personal view.

Based on the above arguments, we can find that although Evans lived in the era when the humanitarian photographic style dominated, his work was not constrained by the contemporary trend. He used the cool lens to express his sentiments, mindful of artistry and thoughts, and explored the new path of photography. Therefore, Evans’s photography made real breakthroughs that lasted beyond his time.

西文書目
Allred, Jeff. American Modernism and Depression Documentary. Oxford: Oxford University Press, 2010.
Arthur, Jason. Violet America: Regional Cosmopolitanism in U.S. Fiction. University Of Iowa Press, 2013
Balio, Tion. Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939. University of California Press, 1995.
Berman, Marshall. All that is Solid Melts into Air, the Experience of Modernity. Penguin Books; Reissue, 1988.
Blinder, Caroline. New Critical Essays on James Agee and Walker Evans: Perspectives on Let Us Now Praise Famous Men. New York, N.Y. : Palgrave Macmillan, 2010.
Böger, Astrid. Documenting Lives: James Agee’s and Walker Evans’s Let Us Now Praise Famous Men. Frankfurt am Main: Peter Lang, 1994.
Bourke-White, Margaret. Portrait of Myself. Simon & Schuster, 1963.
Caldwell, Erskine & Margaret Bourke-White. You Have Seen Their Faces. University of Georgia Press, 1995.
Ceplair, Larry. The Inquisition in Hollywood: Politics in the Film Community, 1930-60. Urbana: University of Illinois Press, 2003.
Clarke, Graham. The Photography. Oxford; New York: Oxford University Press, 1997.
Codrescu, Andrei. Walker Evans: Cuba. Los Angeles: J. Paul Getty Museum, 2001.
Codrescu, Andrei. Walker Evans: Sign. Los Angeles: J. Paul Getty Museum, 1998.
Cohen, Stu. The Likes of Us: American in the Eyes of the Farm Security Administration. David R. Godine Publisher, 2009.
Corwin, Sharon. American Modern: Documentary Photography by Abbott, Evans, and Bourke-White. Berkeley: University of California Press; Fort Worth, Tex: Amon Carter Museum; Waterville, Me. : Colby College Museum of Art, 2010.
Eisinger, Joel. Albuquerque, Trace and Transformation: American Criticism of Photography in the Modernist Period. Albuquerque, N.M. : University of New Mexico Press, 1999.
Entin, Joseph. B. Sensational Modernism: Experimental Fiction and Photography in Thirties America. Chapel Hill: University of North Carolina Press, 2007.
Evans, Walker & James Agee. Let Us Now Praise Famous Men. Boston, Houghton Mifflin Company, 1941.
Fearnow, Mark. American Stage and the Great Depression: A Cultural History of the Grotesque. Cambridge; New York: Cambridge University Press, 1997.
Ferris, Bill. Images of the South: Visits with Eudora Welty and Walker Evan. Memphis: Center for Southern Folklore, 1977.
Finnegan, Cara A. Picturing Poverty: Print Culture and FSA Photgraphs. Smithsonian Institution Scholarly Press, 2003.
Galassi, Peter. Walker Evans & Company. The Museum of Modern Art, New York, 2002.
Gefter, Philip. Photography after Frank. New York: Aperture: D.A.P./Distributed Art Publishers, 2009.
Grey, Michael R. New Deal Medicine: The Rural Health Programs of the Farm Security Administration. Baltimore: Johns Hopkins University Press, 1999.
Hambourg, Maria Morris. Walker Evans. New York Metropolitan Museum of Art in association with Princeton University Press, Princeton, 2000.
Haselstein, Ulla. Berndt Ostendorf, Peter Schneck, Iconographies of Power: The Politics and Poetics of Visual Representation. Heidelberg: Winter, 2003.
Hill, John T. Walker Evans: Lyric Documentary. Göttingen : Steidl, 2006.
Kingston, Rodger. Walker Evans in Print: An Illustrated Bibliography. Belmont, MA: R.P. Kingston Photographs, 1995.
Kirstein, Lincoln. American Photographs: Walker Evans. New York, N. Y.: Errata Editions, 2011.
Kohler, Michael. Constructed Realities: The Art of Staged Photography. Edition Stemmle, Switzerland; Reprint edition, 1995.
Maddox, Jerald &Walker Evans. Photographs for The Farm Security Administration, 1935-1938:A Catalog of Photographic Prints Available from The Farm Security Administration Collection in The Library of Congress. New York: Da Capo Press, 1975.
Maharidge, Dale. And Their Children After them: the Legacy of Let Us Now Praise Famous Men: James Agee, Walker Evans, and the Rise and Fall of Cotton in the South. New York: Seven Stories Press, 2004.
Malibu, Judith Keller. Walker Evans: the Getty Museum collection. Paul Getty Museum, 1995.
Mattick, Paul. Art in its Time: Theories and Practices of Modern Aesthetics. London; New York: Routledge, 2003.
Mitchell, W. J. T. Picture Theory: Essays on Verbal and Visual Representation. University Of Chicago Press, 1995.
Mora, Gilles & Beverly W. Brannan. FSA: The American Vision. New York: Abrams, 2006.
Mora, Gilles & John T. Hill. Walker Evans: The Hungry Eye. New York : H.N. Abrams, 1993.
Mora, Gilles. Photospeak: A Guide to the Ideas, Movements, and Techniques of Photography. New York: Abbeville Press Publishers, 1998.
Mora, Gilles. Walker Evans. New York: Thames & Hudson, 2007.
Ohrn, Karin Becker. Dorothea Lange and the Documentary Tradition. Baton Rouge: Louisiana State University Press, 1980.
Olin, Margaret. Touching Photographs. University Of Chicago Press, 2012.
Orvell, Miles. American Photography. New York: Oxford University Press, 2003.
Papageorge, Tod, Walker Evans and Robert Frank An Essay on Influence. Yale University Art Gallery, 1981.
Plunket, Robert. Walker Evans: Florida. Los Angeles: J. Paul Getty Museum, 2000.
Raeburn, John. A Staggering Revolution: A Cultural History of Thirties Photograph. Chicago: University of Illinois Press, 2006
Rathbone, Belinda. Walker Evans: A Biography. Mariner Books; First Edition edition, 2000.
Rosenheim, Jeff. L. Unclassified: A Walker Evans Anthology: Selections from the Archive Department of Photographs, The Metropolitan Museum of Art. Zurich; New York: Scalo, 2000.
Rosenheim, Jeff. L. Walker Evans and the Picture Postcard. Göttingen: Steidl; New York: Metropolitan Museum of Art, 2009.
Saltzman, Lisa & Eric Rosenberg. Trauma and Visuality in Modernity. Hanover: Dartmouth College Press: University Press of New England, 2006.
Southall, Thomas. Of time & Place: Walker Evans and William Christenberry. San Francisco] : Friends of Photography, 1990.
Stott, William. Documentary Expression and Thirties America. London; New York: Oxford University Press, 1976.
Stryker, Roy Emerson. In this Proud Land: America, 1935-1943, As Seen in the FSA photographs. New York Graphic Society, 1975.
Taylor, Paul. Dorothea Lange, An American Exodus: A Record of Human Erosion Paperback. Editions Jean-Michel Place, 2000.
Thompson, Jerry. L. Walker Evans at Work: 745 Photographs Together with Documents Selected from Letters. New York: Harper& Row, 1982.
Trachtenberg, Alan. Reading American Photographs: Images As History, Mathew Brady to Walker Evans. New York Noonday Press, 1990.
Ward, J. A. American Silences: The Realism of James Agee, Walker Evans, and Edward Hopper. Baton Rouge: Louisiana State University.
中文書目
Alan, Axelrod著，賈士蘅譯，《美國史：深入淺出普及本》（台北市：臺灣商務，2005）。
Badger, Gerry著，施昀佑、黃一凱譯，《攝影的精神》（新北市：大家出版：遠足文化發行，2012）。
Berger, John，Jean Mohr著，張世倫譯，《另一種影像敘事》（台北市：臉譜出版：家庭傳媒城邦分公司發行，2009）。
Rothstein, Arthur著，李文吉譯，《紀實攝影》（台北市遠流，2004）。
Sontag, Susan著，黃燦然譯，《論攝影》（台北：麥田出版2010）。
Wecter, Dixon著，秦傳安編譯，《經濟大蕭條時代》（台北市：德威國際文化出版：吳氏總經銷，2009）。
Wells, Liz著，鄭玉菁譯，《攝影學批判導讀》（新北市：韋伯文化國際，2005）。
林志明著，《複多與張力：論攝影史與攝影肖像》（台北市：田園城市，2013）。
西文期刊
Allred, Jeff, “Boring from within: James Agee and Walker Evans at Time INC,”Criticism, Vol.52, No.1, (Winter 2012), p.41-70.
Andrews, Lew, “Walker Evans’s American Photographs: The Sequential Arrangement,” History of Photography, Vol.18, No.3, (1994), p.264-271.
Baier, Leslie, “Vision of Fascination and Despair: The Relationship between Walker Evans and Robert Frank,” in Art Journal, Vol.41, No.1, Photography and the Scholar/Critic, (Spring, 1981), p.55-63.
Curtis, Jame and Sheila Grannen, “Let Us Now Appraise Famous Photographs: Walker Evans and Documentary Photograpy,” Winterhr Portfolio, Vol.15, No.1, (Spring, 1980), p.14-16.
Grierson, John, “The Documentary Idea,” Complete Photographer, IV, 1377, Advertisement, NYT, (Oct.24, 1970), p.29
Hulick, Diana Emery, “Photography: Modernism’s Stepchild,” Journal of Aesthetic Education, Vol.26, No.1, (Spring, 1992).
Newhall, Beaumont “Documentary Approach to Photography,” Parnassus, vol. 10, no 3, (Mars 1938).
Nickel, Douglas, “American Photographs Revisited,” American Art, Vol.6, No.2, (Spring, 1992), p.78-97.
Quinn, Jeanne Follansbee “The Work of Art: Irony and Identification in ‘Let Us Now Praise Famous Men’,” NOVEL: A Form on Fiction, Vol.34, No.3, (Summer, 2001), p.338-368.
Rosler, Martha, “In, Around, and Afterthoughts (On Documentary Photography),” in Liz Wells ed., The Photography Reader (New York: Routledge, 2003), p.261-74.
Tagg, John, “Melancholy Realism: Walker Evans’s Resistance to Meaning,” Narrative, Vol.11, No.1, (January 2003), p.3-77.
Trachtenberg, Alan, “Walker Evans’s “ Message from the Interior”: A Reading,” October, vol.11, Essays in Honor of Jay Leyda, (Winter, 1979), p.5-29.
中文期刊與論文
林志明，〈紀錄攝影與紀錄風格〉，《兩岸攝影與學術論文選集》（台北：國立歷史博物館，2002）。
葉怡瑄，《貝倫妮斯•阿比特的紐約市攝影作品研究》碩士論文（國立成功大學藝術學研究所，2003）。
季惠民，《台灣解嚴(一九八七)前後紀實攝影研究》碩士論文（國立成功大學藝術學研究所，2005）。
網路資料
http://www.aaa.si.edu/collections/interviews/oral-history-interview-walker-evans-11721#
http://www.fulltable.com/vts/f/fortune/menug.htm
http://www.moma.org/collection/artist.php?artist_id=1777
http://forums.chinatimes.com.tw/art/focus/chou/topic-4.htm