视觉文化的意识形态研究

发布时间：2018-05-09 09:50

本文选题：视觉文化 + 意识形态　；参考：《安徽大学》2011年硕士论文

【摘要】：人类最早的视觉文化可以追溯到远古时代的岩画和图腾。文字发明以后,人类由直观图形记事阶段进入抽象概念记事的阶段,从而出现了一段文字对视觉文化的消解时期。伴随着电子媒介时代的来临,视觉文化再度兴盛起来。今天,我们正处于一个图像生产、流通和消费急剧膨胀的时期,处于一个人类历史上从未有过的图像资源富裕乃至过剩的时期。电影、电视、灯箱、招贴、橱窗、建筑、商品包装和外观设计、书刊封面及插图……形形色色的视觉影像符号日益笼罩着我们的日常生活。在家里,我们会通过报刊、电视、网络等媒介接触各类图片和视频,在户外,我们会看到一幅幅巨型的广告画和LED屏幕悬挂在街道两旁和商业中心里。各类图像不仅是我们生活的一部分,甚至已经成为我们生活的本身了。因此,有的学者说,我们已经进入了视觉文化的时代. 视觉文化作为一种具有如此广泛影响力的大众文化,它必然会成为各个阶级用来宣传自己的意识形态的工具。各个阶级、阶层通过生产或影响能代表本阶级或阶层的主流意识形态的视觉现象来扩大本阶级、阶层的影响力。另外一方面,面对充斥于我们生活中的绘画、电影、电视、广告、杂志封面、书籍插图、建筑、商品包装等视觉现象,我们也可以从意识形态的角度来深入挖掘这些视觉现象的深层次内涵。本文从意识形态的角度对视觉文化进行研究。在绪论中,笔者介绍了本文的选题背景、研究目的和意义、国内外研究状况、创新点等基本信息。在正文中,第一章“视觉文化和意识形态”分别介绍了视觉文化的历史变迁和意识形态的概念变迁,在明白这两个概念的涵义和发展的基础上摸索出视觉文化与意识形态二者的关系——意识形态是研究视觉文化的方法,视觉文化是意识形态的表达方式。第二章“视觉文化的意识形态性”,对视觉文化传播的载体进行分析。视觉文化的传播载体有很多,为了避免研究领域牵涉过广,本文以图片、影视和广告这三种主要的传播载体为例,结合大量生活中的案例,包括德国画家小汉斯·荷尔拜因的名作《大使们》,电影《白毛女》,电视剧《乡村爱情》系列,欧莱雅化妆品的广告等等我们熟悉的视觉文化载体,一一分析这些视觉文化载体并且揭示它们的意识形态性。最后一章“主流意识形态引导当前视觉文化健康发展的策略分析”,这一章也是本文的创新点和重点。在这一章中,笔者结合中国的实际国情,在分析我国视觉文化所面临的主要问题的基础上,提出用社会主义主流意识形态即社会主义核心价值体系来引领当前视觉文化的健康、稳定和高速发展的建议。
[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.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：G206

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