피해자나 목격자 증언을 바탕으로 작성한 몽타주가 범인 검거에 어느 정도 도움을 줄까? 몽타주가 사건 해결의 중요한 단서 중 하나인 것은 분명하다. 몽타주는 수많은 그림의 데이터베이스 중에서 선택을 통해 최대한 유사한 얼굴을 표현하는 것이다. 하지만 여기에는 한계가 있을 수 밖에 없으며, 완성한 후에도 목격자가 가지고 있는 이미지와 다른 경우가 많다. 사람들은 얼굴 부위를 하나하나 인식하지 않고 전체적인 이미지로 인식한다는 점을 염두에 두어야 한다. 이에 얼굴 인식 수사의 전체적인 흐름을 살펴본 후, 수사에 필요한 몽타주 작성 과정에 관하여 살펴 본다. 특히 소프트웨어로 작업한 몽타주와 초상화에 의한 몽타주를 구분 하는 한편, 여전히 초상화에 의한 전통적인 몽타주 작성을 견지하고 있는 일본의 수사 방식을 검토함으로써 국내의 몽타주 수사에 필요한 요인에 대하여 고찰하고자 한다.

The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by ‘Bauhaus syashin(Bauhaus Photographies)’ at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as ‘Bauhaus syashin(bauahustofografie)’ in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as ‘Bauhaus Syashin(Bauhaus Photographies)’ used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it ‘Bauhaus style’. ‘Bauhaus style’ is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of ‘Bauhaus Photographies’ in his article in 1985 as well. This study considers the historical background for the mistake of the term of ‘Bauhaus Syashin(Bauhaus Photographies)’ in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of ‘Bauhaus syashin(Bauhaus Photographies)’ in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.