부산대학교 도서관

The terms “specter” has been commonly adopted to denote the narrative function of photography, images and videos in the field of contemporary writing on art and aesthetics, not only in Taiwan but across Asia. The images, as if providing a portal for the return of the spirits of the past, allow the repressed and suppressed unknown??? to traverse to and from past and present, and also between reality and fiction, in the form of apparitions. However, this kind of discourse pays little attention to the technical conditions that make the apparitions and ghosts appear, and the technical discourse that makes the association between image practice and ghosts possible. The author believes that in addition to reflecting on the existing discourse of specter and image practice, it is also necessary to deepen the analysis and understanding of the concept of “shaman” and to reshape a discourse that links “shaman” and “image” from a technical perspective, focusing on the relationship between shaman, shamans and ghosts, in order to complement the problem of image that has not yet been addressed in the previous viewpoints. Therefore, this paper first examines the homonyms and synonyms represented by the Chinese characters “shaman” and “craft” witch and the idea that “shaman”, “narrative” and “cure” are indistinguishable in function. Then, focusing on the narrative method of “shaman”, the concept of “essay” and “incantation” is used to consider how “shaman”, as a narrative genre that spans multiple technologies, allows the two genres to move toward a place where narrative techniques and imagination can work together. Finally, from the visual narrative concept of “incantation” itself, by retrospecting and comparing the concept of “essay film” that appeared recently, it further proposes a method of image practice for “shaman”.