蒂娜．摩多提（Tina Modotti，1896－1942）生於義大利，成長於美國，卻因移居墨西哥時期（1923－1930）的攝影聞名於世。她在後革命時期的墨西哥，逐步開展她的攝影及左派生涯，從剛開始向威斯頓（Edward Weston）學習形式主義攝影，到很快地與墨西哥的尖聲派（Estridentismo）文藝運動連結，並從1926年開始、經過一年多的探索，在1927年底緊密結合攝影實踐與左翼政治，以相機作為武器，發展出筆者所要論述的革命攝影。

這篇論文將從摩多提1929年的生前唯一個展出發，特別是以她在觀展小冊最前面，以紅字引用托勒斯基（Leon Trotsky）的見解為線索，從托勒斯基的論著《文學與革命》（1924）中汲取養分，將摩多提的攝影置於墨西哥後革命時期的文藝與社會脈絡中詮釋，以開拓迄今中外文研究文獻中少見的馬克思主義詮釋。筆者將一方面援引托勒斯基的唯物辯證法觀點，從生產與消費的情境，來看待摩多提如何逐步融合攝影實踐與革命政治，另一方面將援引托勒斯基對於俄國未來主義、形式主義、革命藝術的文藝批評，來詮釋摩多提所逐漸開展的形式主義、尖聲派、革命攝影歷程，並且探討它們如何成為服務革命大眾與重構社會真實的武器。

Tina Modotti (1896-1942), who was born in Italy and grew up in the United States, has been well-known for her photographs shot during her Mexican sojourn (1923-1930). She gradually dedicated herself to a life of photographic practices and left-wing activism in post-revolutionary Mexico. Modotti had her initiation into formalist photography as an apprentice to Edward Weston. As soon as she settled in Mexico, her photographic works were linked to the Estridentismo movement. Since 1926, Modotti had explored to combine the worlds of radical formalist photography and communist activism. At the end of 1927, Modotti fully achieved her goal, using her camera as a weapon, to produce the revolutionary photography as defined by Leon Trotsky. This paper treats her only solo exhibition during her lifetime held in 1929, as well as Trotsky’s phrases quoted by her in red at the beginning of the exhibition brochure, as important clues to comprehend her development of the revolutionary photography. I will elucidate a Marxist interpretation of Modotti’s photographic works within the artistic and social context of post-revolutionary Mexico. By applying Trotsky’s viewpoints in Literature and Revolution (1924), I will explore how Modotti gradually merged photographic practices with revolutionary politics from the perspectives of production and reception. I will also interpret the development of Modotti’s photographic career from formalism, to Estridentismo, to revolutionary photography in comparison to Trotsky’s dialectical interpretation of the development of Russian Futurist, formalist, and revolutionary literature. By so doing, I want to analyze how Modotti’s works could serve as weapons to provoke the proletariat revolution and to reconstruct the social reality.

蒂娜．摩多提; 托洛斯基; 形式主義; 尖聲派; 革命攝影; 馬克思主義; 技術

Tina Modotti; Leon Trotsky; formalism; Estridentismo; revolutionary photography; Marxism; technique