本文選題：盧廣 + 紀(jì)實(shí)影像�。� 參考：《浙江農(nóng)林大學(xué)》2010年碩士論文

【摘要】： 盧廣先生的《關(guān)注中國(guó)污染》在2009年獲得了尤金·史密斯人道主義攝影獎(jiǎng),再次將紀(jì)實(shí)影像及如何解讀和理解紀(jì)實(shí)影像的討論提上日程來。本文從盧廣先生的作品為突破口,運(yùn)用紀(jì)實(shí)影像的敘事、紀(jì)實(shí)影像的力量與意義及其意識(shí)形態(tài)來解讀紀(jì)實(shí)影像,從而分析紀(jì)實(shí)影像的發(fā)展趨勢(shì)。 紀(jì)實(shí)影像的特性,同紀(jì)實(shí)攝影本身一樣,歷來備受關(guān)注。由于紀(jì)實(shí)的影響,紀(jì)實(shí)影像的特性取決于紀(jì)實(shí)影像的力量、紀(jì)實(shí)影像的意識(shí)形態(tài)、紀(jì)實(shí)影像的傳播和解讀。 西方學(xué)者提出了“圖像轉(zhuǎn)向”之后,我國(guó)學(xué)界已經(jīng)陸續(xù)展開了對(duì)影像和紀(jì)實(shí)影像的研究,展開對(duì)視覺文化現(xiàn)象研究。筆者主要從紀(jì)實(shí)影像的特性著手,研究了紀(jì)實(shí)影像的影像敘事:紀(jì)實(shí)影像象其他敘事符號(hào)一樣,也是一種敘事語言,是沒有國(guó)界、毋需翻譯的世界通俗語言,紀(jì)實(shí)影像這個(gè)敘事符號(hào)通過蒙太奇的手法組成自己的敘事結(jié)構(gòu)和敘事方式。文章通過現(xiàn)存的許多紀(jì)實(shí)影像,解讀了紀(jì)實(shí)影像的力量:紀(jì)實(shí)影像可以影響和改變現(xiàn)在的社會(huì)和歷史,但是這種改變未必就是全部是進(jìn)步的。由于科學(xué)技術(shù)的發(fā)展,媒介也跟著發(fā)展,從而影響了紀(jì)實(shí)影像的傳播和解讀,不同的解讀受不同的意識(shí)形態(tài)的影響。由于現(xiàn)在的多種因素,我們的紀(jì)實(shí)影像必將會(huì)呈現(xiàn)更加豐富的表現(xiàn)形式和傳播形式,在眾多攝影者的共同努力下,紀(jì)實(shí)影像必然為人類發(fā)展作出更多更大的貢獻(xiàn)。紀(jì)實(shí)攝影在新世紀(jì)的前景是廣闊的。
[Abstract]:Mr. Lu Guang's concern about pollution in China won the Eugene Smith Prize for Humanitarian Photography in 2009, putting the discussion of documentary images and how to interpret and understand them on the agenda again. Based on the breakthrough of Mr. Lu Guang's works, this paper uses the narration of documentary images, the power and significance of documentary images and their ideology to interpret documentary images and analyze the development trend of documentary images. The characteristics of documentary images, like documentary photography itself, have always been the focus of attention. Because of the influence of documentary, the characteristics of documentary image depend on the power of documentary image, the ideology of documentary image, the spread and interpretation of documentary image. After the western scholars put forward the "image turning", Chinese academic circles have carried out the research on image and documentary image one after another, and on the visual cultural phenomenon. Based on the characteristics of documentary images, the author studies the image narration of documentary images: documentary images, like other narrative symbols, are also a narrative language, which is a universal language without national boundaries and no translation. Documentary image, a narrative symbol, forms its own narrative structure and narrative way through montage. Through many existing documentary images, this paper interprets the power of documentary images: documentary images can influence and change the present society and history, but this kind of change is not necessarily all progressive. Due to the development of science and technology, the media also develops with it, which affects the spread and interpretation of documentary images, and different interpretations are influenced by different ideologies. Due to various factors, our documentary images will certainly present a richer form of expression and dissemination. With the joint efforts of many photographers, documentary images will certainly make more and more contributions to the development of human beings. The prospect of documentary photography in the new century is broad.
【學(xué)位授予單位】：浙江農(nóng)林大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J405

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本文編號(hào)：1967458