發(fā)布時間：2018-04-05 06:39

  本文選題：情緒　切入點：記憶　出處：《上海師范大學》2017年碩士論文

【摘要】：1894年法國心理學家Ribot在《情緒記憶研究》一文中首先提出了情緒記憶,情緒記憶是人類所特有的,自古以來人類所從事的任何藝術活動都是圍繞著情緒與記憶所展開。藝術形式從最早的繪畫與音樂,再到后來的電影與攝影。攝影作為眾多藝術樣式中的一員,具有情緒表達與存儲記憶的功能。本文一開始寫了攝影與其他藝術樣式比如文學、音樂、雕塑、繪畫、電影的關系——既存在著區(qū)別,又存在著聯(lián)系,互相汲取營養(yǎng),促進自身的發(fā)展。然后第二章是對記憶進行分類,主要包括個人記憶與集體記憶,客觀記憶與主觀記憶,并對個人記憶與集體記憶之間的區(qū)別與聯(lián)系進行了分析,詳細介紹了主觀的集體記憶。本文的重點在第三章情緒記憶的轉化,首先是從拍攝者的角度來進行闡釋,拍攝者主要包括專業(yè)拍攝者和業(yè)余拍攝者。拍攝者一般是將自己內(nèi)心深處的情緒記憶投射到攝影作品中,內(nèi)心的情緒記憶轉化的動力包括鄉(xiāng)愁、童年記憶、愛的表達、以及理想與現(xiàn)實的差距。文章又闡釋了拍攝者將情緒記憶進行視覺轉化的過程,不是一蹴而就的,需要拍攝者技法與心法的磨練。文章接下來從觀看者的角度出發(fā)來闡釋情緒記憶轉化的結果。拍攝者是許多問題的提出者,而作為觀看者則是問題的解決者。觀看者可以通過攝影者的作品獲得感同身受的情緒記憶,可以是憤怒的,可以是憐憫的,也可以是恐懼的。并將這些內(nèi)心的情緒轉化為問題解決的動力,比如對于環(huán)境或者醫(yī)療的改變,對于戰(zhàn)爭或者歷史遺留問題的解決,又或者對于貧困問題的改變。這些情緒記憶的轉化都是直接的,而有些情緒記憶的轉化是間接的,會隨著時間、空間以及觀看者本身的變化,而產(chǎn)生不同的轉化效果。文章最后闡釋了在這個攝影全民普及的時代,該怎樣拍攝才能吸引觀者的注意力,并感染著他們,以及如何將這份感染力轉化為社會進步的動力。
[Abstract]:In 1894, Ribot, a French psychologist, first put forward emotional memory, which is unique to human beings. Since ancient times, any artistic activities of human beings have been carried out around emotion and memory.Art forms range from the earliest paintings and music to later films and photography.Photography, as a member of many art styles, has the function of emotion expression and memory storage.This paper begins with the relationship between photography and other artistic styles such as literature, music, sculpture, painting, film-there are differences, but also there are connections, mutual nutrition, to promote their own development.Then the second chapter classifies the memory, including individual memory and collective memory, objective memory and subjective memory, and analyzes the difference and relationship between individual memory and collective memory, and introduces the subjective collective memory in detail.The focus of this paper is on the transformation of emotional memory in Chapter 3. Firstly, it is explained from the perspective of photographers, who mainly include professional photographers and amateur photographers.Photographers usually project their inner emotional memory into their photographic works. The motive force of the transformation of emotional memory includes homesickness, childhood memory, the expression of love, and the gap between ideal and reality.The paper also explains the process of visual transformation of emotional memory by the photographer, which is not accomplished overnight, and needs to be honed by the photographer's technique and mental method.The article then explains the result of emotional memory transformation from the perspective of the viewer.The photographer is the presenter of many problems, while the viewer is the problem solver.The viewer can acquire emotional memories of empathy through the photographer's work, can be angry, can be pity, can be fear.And turn these emotions into motivations to solve problems, such as changes to the environment or medical care, to war or to the legacy of history, or to the problem of poverty.The transformation of emotional memory is direct, and some of the transformation of emotional memory is indirect, which will change with time, space and the viewer itself, and produce different transformation effects.At the end of the article, the author explains how to capture and infect the viewers in this age of popular photography, and how to turn this appeal into the motive force of social progress.
【學位授予單位】：上海師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J405

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