巴尔特的照片语义学和影像真实神话批判

发布时间：2018-05-04 17:17

本文选题：新闻摄影 + 符号—语义学　；参考：《湖南师范大学社会科学学报》2017年01期

【摘要】：巴尔特《摄影讯息》一文运用符号学对照片的语义学结构进行了深入剖析。他认为照片虽与素描、绘画、电影、戏剧一样,是一种无编码的连续讯息,但后者这些"模仿性"艺术,都明显包含着直接意指和含蓄意指的二元性讯息,而照片作为真实之物的机械性相似物,直接意指讯息在某种程度上已完全充满其实体,没有留下可以形成含蓄意指讯息的任何位置,这种唯一可以由一种"外延"讯息构成的信息结构是照片独有的语义学结构。在此基础上,巴尔特进一步揭橥了摄影讯息的内涵编码既不是"自然的",也不是"人为的",而是"历史的",或者说是"文化的"。《摄影讯息》一文对照片符号—语义学结构的揭橥,无疑对影像真实神话有着"解神秘化"效果。
[Abstract]:Barter's Photographic message uses semiotics to analyze the semantic structure of photographs in depth. He believes that photographs, like sketches, paintings, films and plays, are uncoded continuous messages, but the latter "imitative" art clearly contains binary messages with direct and implicit meanings. And the mechanical resemblance of a photograph as a real thing directly means that the message is to some extent completely filled with its entity, leaving no place where it can form an implied meaning. The only information structure that can be made up of an "extension" message is the unique semantic structure of a photograph. On this basis, Barter further revealed that the connotation code of photographic information is neither "natural" nor "man-made", but "historical" or "cultural". There is no doubt that the true myth of the image has a "mysterious" effect.
【作者单位】：西南大学文学院;
【基金】：国家社会科学基金重点项目“‘语言学转向’与视觉方法论研究”(15AZW003)
【分类号】：J40

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