本文根據1995年所出版《黛安．艾柏斯：無題》（Diane Arbus: Untitled）的攝影作品做為本文所討論的觀看視角。試圖透過《無題》（Untitled）的攝影視角，參考艾柏斯的自述以及相關的攝影研究、美學與社會文化意涵相關的論述，詮釋艾柏斯如何以「隱藏介入的注視」旁觀被攝者，建立陌生的熟悉感。本文進一步從艾柏斯《無題》所聚焦的攝影觀點，參照韓國導演李滄東所執導的電影《綠洲》（Oasis, 2002），討論其李滄東對於幻境與醜陋的現實所建立的苦痛。比對兩位創作者如何觀察被攝者缺陷的身體？如何拉近與社會風景的內在情感，跨越其邊緣身份的疆界？如何體現內心的苦痛，轉化生命境遇？試圖建立《無題》與《綠洲》影像「視」界的對話，進一步界定「苦痛」與「侵入」的觀看位置。

In this essay, the author regards Diane Arbus: Unitled, a collection of photography, which was published in 1995 as a strategy of viewing and attempts to interpret how Arbus constructs a strange intimacy through “hidden-intervention” and further analyzes Lee Chang-Dong’s Oasis (2002). The author discusses the pains which are given by both beautiful fantasy and ugly reality in Lee Chang-Dong’s films and comes up with a comparison of the representations of pains and intervention between the works by Arbus and Lee: How do viewers view the abnormal bodies from a distant position? How to approach the inner affects in the outer landscape, transcend the physical flows, and trespass the boundaries of marginal identities? How to represent inner pain and emotions and to understand interiority of life? This essay aims to interweave Untitled and Oasis into a “visual” conversation and define a viewing position of the “pain” and “intervention.”