本文通過荷蘭World Press Photo 國際新聞攝影大賽過去七 年在「日常生活」類的得獎作品，分析以西方新聞攝影競賽機 制所主導的代表性影像，如何看待「生活」與「日常」。本文 追溯首先建立西方新聞攝影理念、競賽機制與照片內容分類模 式的《生活》雜誌，如何形塑了美國與西歐的新聞攝影「傳 統」，「發明」了美國與全球對生活方式的某種想像或模仿， 進而影響WPP 對「日常生活」影像的鼓勵與實踐方向。本文 認為，來自世界各地日常生活現場的WPP「日常生活」類得獎 作品，其取材重點、拍攝角度、影像風格，與作品預設的觀 者，皆使所有地區、尤其來自非西方社會的日常生活影像，變 成一種文化或視覺上的奇觀。本文同時指出，WPP 在傳播與文 化市場上的強大影響力，造成西方攝影記者持續前往非西方地 區獵取「日常生活奇觀」，也造成非西方地區的在地攝影師， 以西方國家舉辦之新聞攝影競賽的評審口味、選材或美學取 向，觀看自己社會裡的「日常生活」。

This paper studies award-winning photographs in the “Daily Life” category of the World Press Photo (WPP) contest during 2010-2016, and analyzes how those images from this influential photojournalistic institution in the West look at “life” and “the everyday”. The essay reviews LIFE magazine, from which a certain set of professional conventions in Western photojournalism was “invented”, and explains how it has shaped and encouraged the practices in WPP. The essay argues that award-winning photographic images in this category of WPP from all over the world, particularly those from non-Western areas, have transformed daily lives into cultural/visual spectacles through the contents selected, special angles/visual styles taken, or anticipated readers of the works. Due to the WPP’s immense power in media and culture, this paper further contends that photojournalists from non-Western countries internalize such approaches exercised by Western photographers and jury members, and eventually self-exoticize the daily lives in their own societies.