试论摄影的情绪记忆

发布时间：2018-04-05 06:39

本文选题：情绪　切入点：记忆　出处：《上海师范大学》2017年硕士论文

【摘要】：1894年法国心理学家Ribot在《情绪记忆研究》一文中首先提出了情绪记忆,情绪记忆是人类所特有的,自古以来人类所从事的任何艺术活动都是围绕着情绪与记忆所展开。艺术形式从最早的绘画与音乐,再到后来的电影与摄影。摄影作为众多艺术样式中的一员,具有情绪表达与存储记忆的功能。本文一开始写了摄影与其他艺术样式比如文学、音乐、雕塑、绘画、电影的关系——既存在着区别,又存在着联系,互相汲取营养,促进自身的发展。然后第二章是对记忆进行分类,主要包括个人记忆与集体记忆,客观记忆与主观记忆,并对个人记忆与集体记忆之间的区别与联系进行了分析,详细介绍了主观的集体记忆。本文的重点在第三章情绪记忆的转化,首先是从拍摄者的角度来进行阐释,拍摄者主要包括专业拍摄者和业余拍摄者。拍摄者一般是将自己内心深处的情绪记忆投射到摄影作品中,内心的情绪记忆转化的动力包括乡愁、童年记忆、爱的表达、以及理想与现实的差距。文章又阐释了拍摄者将情绪记忆进行视觉转化的过程,不是一蹴而就的,需要拍摄者技法与心法的磨练。文章接下来从观看者的角度出发来阐释情绪记忆转化的结果。拍摄者是许多问题的提出者,而作为观看者则是问题的解决者。观看者可以通过摄影者的作品获得感同身受的情绪记忆,可以是愤怒的,可以是怜悯的,也可以是恐惧的。并将这些内心的情绪转化为问题解决的动力,比如对于环境或者医疗的改变,对于战争或者历史遗留问题的解决,又或者对于贫困问题的改变。这些情绪记忆的转化都是直接的,而有些情绪记忆的转化是间接的,会随着时间、空间以及观看者本身的变化,而产生不同的转化效果。文章最后阐释了在这个摄影全民普及的时代,该怎样拍摄才能吸引观者的注意力,并感染着他们,以及如何将这份感染力转化为社会进步的动力。
[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.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J405

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