关于摄影的真实性问题

发布时间：2018-04-16 10:11

本文选题：摄影 + 真实性　；参考：《东华大学》2004年硕士论文

【摘要】： 本文主要研究有关摄影的真实性问题，这里所指的真实性主要界定在摄影所能记录的社会事实与历史真实的可信性方面。作为研究对象的照片并不局限于纪实类摄影，笔者选取了1968年全年的《人民画报》中表现女性题材的照片作为本文的研究对象。通过概述摄影发展的历史，笔者提出了摄影的真实性问题。笔者把“文革”时期的摄影作为在当时政治形势下的艺术活动之一种进行分析。它和那个时期的艺术活动机制、艺术活动的思想准则等关系密切。除此之外，前苏联的艺术观念和中国摄影发展历程的自身特点也影响着摄影活动的观念。毛泽东对于女性美的标准以及江青所推行的“样板戏”，使那个时期产生了“不爱红装爱武装”的“铁姑娘”形象，这个在中国历史上前所未有的形象在当时表现了社会主义的优越性，这个审美标准成为政治宣传的需要。为何会出现这样的女性形象?她们在“文革”中的实际生活状况如何?笔者通过对史料的搜集以及对女性理论的研究分析了其成因。 “文化大革命”时期，能够在社会上得以传播、发行数量最大的就是在当时的杂志——画报、报纸等这样的出版物上登载的摄影图片，这些照片属于记录和报道的性质。笔者通过分析研究对象的摄影影像构成要素，以及它们与马克-吕布作品的比较，发现“文革”摄影表现的片面性，只见有关政治方面的题材，而没有任何有关个人日常生活的多角度展示和记录，可见当时摄影“概念化”的严重程度。这些照片以女性私人性层面生活的缺失从反面揭示了“文革”时期的摄影与当时的历史状况、美术作品中女性形象的联系。笔者还深入分析了摄影在客观方面、主观方面和影像传播过程中的局限性，发现以摄影为记录手段会与现实的真实性产生一定的偏差。因此，摄影的“真实性”应该是时间范畴中的历史真实性，这种真实性不可能是绝对的，，它只能是相对的。由此，笔者得出结论：照片可以作假，但是绝对无法超越其所处的时代的局限。除了现实的真实之外，其拍摄立场完全能够反映拍摄者当时的心态。摄影作品通过一定意识形态下的传播媒介影响着公众的视角及其价值观和道德判断标准。这个时期的摄影作品就如同“文革”时期的标本，也成为历史的一部分，以一种反证的方式见证了当时的社会状况、政治及艺术活动的环境，揭示了那个时期的历史真相。
[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.
【学位授予单位】：东华大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：J40

【引证文献】