本文選題：視覺文化 + 意識(shí)形態(tài)�。� 參考：《安徽大學(xué)》2011年碩士論文

【摘要】：人類最早的視覺文化可以追溯到遠(yuǎn)古時(shí)代的巖畫和圖騰。文字發(fā)明以后,人類由直觀圖形記事階段進(jìn)入抽象概念記事的階段,從而出現(xiàn)了一段文字對(duì)視覺文化的消解時(shí)期。伴隨著電子媒介時(shí)代的來臨,視覺文化再度興盛起來。今天,我們正處于一個(gè)圖像生產(chǎn)、流通和消費(fèi)急劇膨脹的時(shí)期,處于一個(gè)人類歷史上從未有過的圖像資源富裕乃至過剩的時(shí)期。電影、電視、燈箱、招貼、櫥窗、建筑、商品包裝和外觀設(shè)計(jì)、書刊封面及插圖……形形色色的視覺影像符號(hào)日益籠罩著我們的日常生活。在家里,我們會(huì)通過報(bào)刊、電視、網(wǎng)絡(luò)等媒介接觸各類圖片和視頻,在戶外,我們會(huì)看到一幅幅巨型的廣告畫和LED屏幕懸掛在街道兩旁和商業(yè)中心里。各類圖像不僅是我們生活的一部分,甚至已經(jīng)成為我們生活的本身了。因此,有的學(xué)者說,我們已經(jīng)進(jìn)入了視覺文化的時(shí)代. 視覺文化作為一種具有如此廣泛影響力的大眾文化,它必然會(huì)成為各個(gè)階級(jí)用來宣傳自己的意識(shí)形態(tài)的工具。各個(gè)階級(jí)、階層通過生產(chǎn)或影響能代表本階級(jí)或階層的主流意識(shí)形態(tài)的視覺現(xiàn)象來擴(kuò)大本階級(jí)、階層的影響力。另外一方面,面對(duì)充斥于我們生活中的繪畫、電影、電視、廣告、雜志封面、書籍插圖、建筑、商品包裝等視覺現(xiàn)象,我們也可以從意識(shí)形態(tài)的角度來深入挖掘這些視覺現(xiàn)象的深層次內(nèi)涵。 本文從意識(shí)形態(tài)的角度對(duì)視覺文化進(jìn)行研究。在緒論中,筆者介紹了本文的選題背景、研究目的和意義、國(guó)內(nèi)外研究狀況、創(chuàng)新點(diǎn)等基本信息。在正文中,第一章“視覺文化和意識(shí)形態(tài)”分別介紹了視覺文化的歷史變遷和意識(shí)形態(tài)的概念變遷,在明白這兩個(gè)概念的涵義和發(fā)展的基礎(chǔ)上摸索出視覺文化與意識(shí)形態(tài)二者的關(guān)系——意識(shí)形態(tài)是研究視覺文化的方法,視覺文化是意識(shí)形態(tài)的表達(dá)方式。第二章“視覺文化的意識(shí)形態(tài)性”,對(duì)視覺文化傳播的載體進(jìn)行分析。視覺文化的傳播載體有很多,為了避免研究領(lǐng)域牽涉過廣,本文以圖片、影視和廣告這三種主要的傳播載體為例,結(jié)合大量生活中的案例,包括德國(guó)畫家小漢斯·荷爾拜因的名作《大使們》,電影《白毛女》,電視劇《鄉(xiāng)村愛情》系列,歐萊雅化妝品的廣告等等我們熟悉的視覺文化載體,一一分析這些視覺文化載體并且揭示它們的意識(shí)形態(tài)性。最后一章“主流意識(shí)形態(tài)引導(dǎo)當(dāng)前視覺文化健康發(fā)展的策略分析”,這一章也是本文的創(chuàng)新點(diǎn)和重點(diǎn)。在這一章中,筆者結(jié)合中國(guó)的實(shí)際國(guó)情,在分析我國(guó)視覺文化所面臨的主要問題的基礎(chǔ)上,提出用社會(huì)主義主流意識(shí)形態(tài)即社會(huì)主義核心價(jià)值體系來引領(lǐng)當(dāng)前視覺文化的健康、穩(wěn)定和高速發(fā)展的建議。
[Abstract]:The earliest human visual culture can be traced back to ancient rock paintings and totem. After the invention of characters, human beings entered the stage of abstract concept recording from the stage of visual graphics recording, which resulted in a period of text deconstruction of visual culture. With the advent of the electronic media era, visual culture again flourished. Today, we are in a period of rapid expansion of image production, circulation and consumption, and a period of rich and even surplus image resources never seen in human history. Film, TV, light box, poster, window, architecture, commodity packaging and design, book cover and illustration. All kinds of visual image symbols are increasingly enveloping our daily life. At home, we come into contact with pictures and videos through newspapers, television, the Internet, etc. Outdoors, we see huge advertising pictures and LED screens hanging on both sides of the street and in the commercial center. All kinds of images are not only a part of our life, but also become the life itself. Therefore, some scholars say that we have entered the era of visual culture. As a popular culture with such wide influence, visual culture is bound to be used by all classes to propagate their ideology. Each class or stratum expands its influence by producing or influencing the visual phenomena that represent the mainstream ideology of the class or stratum. On the other hand, in the face of the visual phenomena of painting, film, television, advertising, magazine covers, book illustrations, buildings, commodity packaging and so on, We can also dig into the deep connotation of these visual phenomena from the angle of ideology. This article carries on the research from the ideology angle to the visual culture. In the introduction, the author introduces the background, purpose and significance of this paper, the status of research at home and abroad, innovation and other basic information. In the text, the first chapter, "Visual culture and ideology", respectively introduces the historical changes of visual culture and the conceptual changes of ideology. On the basis of understanding the meaning and development of these two concepts, the author tries to find out the relationship between visual culture and ideology-ideology is the method of studying visual culture, and visual culture is the expression of ideology. The second chapter, the ideology of visual culture, analyzes the carrier of visual culture communication. There are many communication carriers of visual culture. In order to avoid the wide range of research fields, this paper takes picture, film and advertising as an example, combining with a large number of cases in life. These include the famous works of German painter Hans Holbein, Ambassadors, the film Whitehaired Girl, the TV series country Love, the advertising of L'Oreal cosmetics, and so on, which we are familiar with as a visual and cultural carrier. Analyze these visual cultural carriers and reveal their ideological nature. The last chapter, "the strategy analysis of the mainstream ideology leading to the healthy development of visual culture", is also the innovation and focus of this paper. In this chapter, the author combines the actual situation of China, on the basis of analyzing the main problems that the visual culture of our country faces, proposes to lead the health of the present visual culture by the socialist mainstream ideology, that is, the socialist core value system. Suggestions for stability and rapid development.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：G206

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本文編號(hào)：1865556