镜头压力下的东道主——西方学界关于旅游地原住民摄影态度的研究述评

旅游者常以照相机镜头表达自己的旅游欲求,行使其作为"观看者"和"拍摄者"(Photographer)的特权;旅游地土著居民也以通过在镜头前的反应表达其"被观看者"和"被拍摄者"(Photographee)的权力。二十余年来,西方学者对镜头压力下的东道主的态度与行为做了深刻剖析,指出他们有以下三个特征:恐惧与反感,谈判,以及将游客模式化。通过这几种方式,东道主得以建立合适的主客关系,即,照相机的限定性使用不会影响游客兴趣,也没有使旅游经济收益下降,同时当地人又建立起自己相对的隐私空间,一定程度地保护了自身文化免受外来游客的冲击。

THE HOSTS FACED WITH THE LENS' PRESSURE--Remark on the Research Works by Foreign Scholars about the Natives' Attitudes towards Tourists' Photographic Behaviors

The appearance of camera and photographic technique has completely changed man's manner to watch and to be watched so as to make the behavior of the seers and the seen be solidified and materialized, bearing public and social nature. Apparently, photographing is not a simple mechanic operation but more an in tended behavior.
Photography constitutes the most significant part in modern traveling culture. And for tourists, photography also is one of their most important consume behaviors. They often give their consuming expression by those little lenses of cameras, correspondingly the tourers' privileges being completed during photography. Those natives of course can express their attitude being tourees or photographees. That is to say, tourists have exerted some kinds forces on hosts in fact when focusing their lens on those natives. So a series of contradictions and problem are conduced gradually in relation to equality, morality and development. Here the author tend to define the relationship between tourists, natives, and camera lens by such formula "tourer-cameralens-touree". In generalization there are three kinds of reactions that natives might do. Firstly, the hosts choose to break away when they find being pictured. Secondly, the hosts negotiate with the tourists by so-called "image accommodation" or "image adaptation".That is to say, the natives like to exhibit the "realest" scenes, the most typical buildings, or the most "primitive" dressing, which is so-called model culture, or "fabricated authenticity" to play up to photographic consumption.
In present-day China, the consumption in photographic culture is unusually brisk. The place in lens is likely to evolve into a tourist area. Some well-protected areas with natural and humane landscapes tend to be a destination for photographic amateurs. As a matter of fact, we should study the questions "how do the hosts might transact the vistors' voyeuristic rapacious lens?" Maybe it is an important question. And every scholar who owned social conscience should be answer.