本研究從後結構主義與社會符號學觀點出發，檢視藝術教育系學生如何詮釋探討特定議題的自創編導式攝影，觀察藝術詮釋作為社會活動的過程與本質。透過集體創作與詮釋，學生得以對日常生活相關之社會議題進行批判與對話。本研究分析學生在創作與詮釋影像時，如何運用產生意義的互文資源(符碼)，並發現學生會依據影像中呈現的特定議題，採用不同的互文資源來解碼影像。無論是無意或有意創造出來的攝影圖像，都可能因個別讀者按用的各種互文資源而產生不同的解讀(若不相衝突)。此外，研究者將探討在藝術教育 課堂上，利用議題相關編導式攝影來帶動批判性對話的可能性，以培養學生更高度的社會關懷意識。

Drawing on poststructuralism and social semiotics, this study investigates the process and nature of art interpretation as a social activity by examining how undergraduate art education students interpret the issues-driven staged photography they have constructed. Through creating and interpreting this photography collaboratively, the students are engaging in critical dialogue about social issues relevant to their everyday lives. In this study, I analyze the intertextual resources (codes) used by the students to generate meaning in creating and interpreting images, and find that the students activate different intertextual resources to decode images in correspondence with the specific issues presented in them. Photographic images, regardless of how intuitively or deliberately they are created, are likely to generate different, if not conflicting, readings dependent on the respective intertextual resources deployed by the individual readers who interpret them. Additionally, I am thereby exploring the possibility of promoting critical dialogue using issues-driven staged photography in an art education classroom to help students develop greater social awareness.