本文主要探討攝影家許進源從2013年至2020年的編導式攝影作品，首先回顧西方編導攝影的源起和發展，接著分析許進源編導式攝影的敘事性，如何呈現在其寓言故事或神話式的影像中，利用多種素材如玻璃、枯木、紗布，以及素人演員等，並運用奇觀式、戲劇性的表現手法，來傳達攝影家對當今社會的觀察和反思，並藉由諧擬時事、戲仿寓言的形式，編導出他眼中怪誕不經的政治或社會事件等議題。許進源的作品隱含電影動態的敘事性，亦保有靜態攝影的無限想像空間，他的攝影作品充滿唐突、怪異、荒謬的意象，游離在正軌與偏差的邊緣，透過影像符號語言描述他對現實世界的觀察和體驗，完成一齣齣跳脫現實的大地劇場，表現他試圖從個人經驗觸及集體的感知。

This paper examines the photographer Ching-Yuan Hsu’s staged photography from 2013 to 2020 by starting with a review on the origin and development of staged photography in the west and following with an analysis on the narratives of Hsu’s staged photography. The analysis is centered on how a variety of materials such as glass, deadwood and gauzes and how amateur actors are presented in the fabled or mythological images. A spectacular and dramatic technique is used to express the photographer’s observation and reflection on the contemporary society. Hsu stages the political or social events, absurd in his eyes, with parodies of topical issues and through the format of allegories. Hsu’s works contain the narrative dynamics of motion pictures, as well as the infinity of imagination of static photography. His photography is full of incongruous, weird and ridiculous images, on the edge between the norms and the deviations. With the language of imagery and symbols, he describes his observation and experience of the real world and completes plays of the earth one after another and free from the reality. This is the expression of his perceptions, with which he seeks to reach the mass by grounding on his personal experience.