本文選題：攝影 + 真實(shí)性��； 參考：《東華大學(xué)》2004年碩士論文

【摘要】： 本文主要研究有關(guān)攝影的真實(shí)性問(wèn)題，這里所指的真實(shí)性主要界定在攝影所能記錄的社會(huì)事實(shí)與歷史真實(shí)的可信性方面。作為研究對(duì)象的照片并不局限于紀(jì)實(shí)類攝影，筆者選取了1968年全年的《人民畫報(bào)》中表現(xiàn)女性題材的照片作為本文的研究對(duì)象。 通過(guò)概述攝影發(fā)展的歷史，筆者提出了攝影的真實(shí)性問(wèn)題。 筆者把“文革”時(shí)期的攝影作為在當(dāng)時(shí)政治形勢(shì)下的藝術(shù)活動(dòng)之一種進(jìn)行分析。它和那個(gè)時(shí)期的藝術(shù)活動(dòng)機(jī)制、藝術(shù)活動(dòng)的思想準(zhǔn)則等關(guān)系密切。除此之外，前蘇聯(lián)的藝術(shù)觀念和中國(guó)攝影發(fā)展歷程的自身特點(diǎn)也影響著攝影活動(dòng)的觀念。 毛澤東對(duì)于女性美的標(biāo)準(zhǔn)以及江青所推行的“樣板戲”，使那個(gè)時(shí)期產(chǎn)生了“不愛(ài)紅裝愛(ài)武裝”的“鐵姑娘”形象，這個(gè)在中國(guó)歷史上前所未有的形象在當(dāng)時(shí)表現(xiàn)了社會(huì)主義的優(yōu)越性，這個(gè)審美標(biāo)準(zhǔn)成為政治宣傳的需要。為何會(huì)出現(xiàn)這樣的女性形象?她們?cè)凇拔母铩敝械膶?shí)際生活狀況如何?筆者通過(guò)對(duì)史料的搜集以及對(duì)女性理論的研究分析了其成因。 “文化大革命”時(shí)期，能夠在社會(huì)上得以傳播、發(fā)行數(shù)量最大的就是在當(dāng)時(shí)的雜志——畫報(bào)、報(bào)紙等這樣的出版物上登載的攝影圖片，這些照片屬于記錄和報(bào)道的性質(zhì)。筆者通過(guò)分析研究對(duì)象的攝影影像構(gòu)成要素，以及它們與馬克-呂布作品的比較，發(fā)現(xiàn)“文革”攝影表現(xiàn)的片面性，只見(jiàn)有關(guān)政治方面的題材，而沒(méi)有任何有關(guān)個(gè)人日常生活的多角度展示和記錄，可見(jiàn)當(dāng)時(shí)攝影“概念化”的嚴(yán)重程度。這些照片以女性私人性層面生活的缺失從反面揭示了“文革”時(shí)期的攝影與當(dāng)時(shí)的歷史狀況、美術(shù)作品中女性形象的聯(lián)系。 筆者還深入分析了攝影在客觀方面、主觀方面和影像傳播過(guò)程中的局限性，發(fā)現(xiàn)以攝影為記錄手段會(huì)與現(xiàn)實(shí)的真實(shí)性產(chǎn)生一定的偏差。因此，攝影的“真實(shí)性”應(yīng)該是時(shí)間范疇中的歷史真實(shí)性，這種真實(shí)性不可能是絕對(duì)的，，它只能是相對(duì)的。 由此，筆者得出結(jié)論：照片可以作假，但是絕對(duì)無(wú)法超越其所處 的時(shí)代的局限。除了現(xiàn)實(shí)的真實(shí)之外，其拍攝立場(chǎng)完全能夠反映拍攝 者當(dāng)時(shí)的心態(tài)。攝影作品通過(guò)一定意識(shí)形態(tài)下的傳播媒介影響著公眾 的視角及其價(jià)值觀和道德判斷標(biāo)準(zhǔn)。這個(gè)時(shí)期的攝影作品就如同“文 革”時(shí)期的標(biāo)本，也成為歷史的一部分，以一種反證的方式見(jiàn)證了當(dāng) 時(shí)的社會(huì)狀況、政治及藝術(shù)活動(dòng)的環(huán)境，揭示了那個(gè)時(shí)期的歷史真相。
[Abstract]:This paper mainly studies the authenticity of photography, which is mainly defined in the credibility of social fact and historical truth recorded by photography.As the object of study, the photographs are not limited to documentary photography. The author chooses the pictures of women in the people's Illustrated in 1968 as the object of this paper.By summarizing the history of photography, the author puts forward the authenticity of photography.The author analyzes photography during the Cultural Revolution as one of the artistic activities under the political situation at that time.It is closely related to the mechanism of artistic activities and the ideological norms of artistic activities in that period.In addition, the artistic concept of the former Soviet Union and the characteristics of the development of Chinese photography also affect the concept of photography.Mao Zedong's standards of female beauty and the "model opera" promoted by Jiang Qing made the "iron girl" image of "not loving the red dress and loving the armed forces" in that period.This unprecedented image in Chinese history showed the superiority of socialism at that time, and this aesthetic criterion became the need of political propaganda.Why is there such a female image?What are their actual living conditions during the Cultural Revolution?Through the collection of historical data and the study of women's theory, the author analyzes its causes.During the "Cultural Revolution," the largest number of such publications as magazines, pictorial, newspaper, and so on were published in such a way that they were recorded and reported.By analyzing the elements of photographic images of the objects of study and their comparison with the works of Mark Lv Bu, the author finds that the photographic performance of the Cultural Revolution is one-sidedness, and only about the subject matter of politics.Without any multi-angle display and recording of individuals' daily lives, the severity of the conceptualization of photography at the time was evident.These photos reveal the relationship between the photography during the Cultural Revolution and the historical situation of the time and the images of women in the works of fine arts.The author also analyzes the limitations of photography in objective, subjective and image dissemination, and finds that photography as a means of recording will lead to a certain deviation from the reality of authenticity.Therefore, the "authenticity" of photography should be historical authenticity in time category, which can not be absolute, it can only be relative.From this, the author concludes that the photograph can be falsified, but it is absolutely impossible to go beyond its location.The limitations of the times.In addition to the reality of reality, its shooting position can fully reflect the shooting.The state of mind at that time.Photographic works influence the public through the media under certain ideologyAnd its values and moral judgment standards.This period of photography is like "text"The specimens of the period of the Revolution also became part of history, and witnessed in an uncorroborating manner thatThe social conditions, the environment of political and artistic activities, reveal the historical truth of that period.
【學(xué)位授予單位】：東華大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：J40

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 劉婷婷;現(xiàn)代攝影的意象創(chuàng)造[D];北京服裝學(xué)院;2008年

2 呂珍;論紀(jì)實(shí)攝影的主觀性與客觀性[D];山東工藝美術(shù)學(xué)院;2013年

本文編號(hào)：1758428