90年代上海都市纪实摄影家的个案分析

发布时间：2018-08-08 17:19

【摘要】：影像是通过人类对自然界的模仿和想象，所创造出来的一种区别于传统文字的表现方式。原始人类在文字还未出现之前的史前时代，就已经开始制作影像并且一直延续至今，直到这个以视觉图像为中心，多种视觉媒介形式相互激荡汇流的图像时代的到来。纪实摄影作为视觉传播的一种主要手段，不仅是摄影语言的一个基本环节，也是摄影研究的一个核心概念。本文试图借鉴已有的摄影史和摄影理论中关于纪实摄影的研究成果，并结合社会学、都市文化学等学科的研究方法，以90年代上海都市纪实摄影中最具代表性的三位都市纪实摄影师的作品为主要案例，分析了他们各自独特的摄影语言对上海都市纪实摄影空间的具体表现，其中陆元敏更多的是通过属于自己的视角来观察着发生在自己身边的，触动自己的影像，并通过相机来凝固这一瞬间。他的作品充分体现了其个人视角，那些被人们忽略了的最为鲜活的上海市民的生活场景。而雍和的摄影语言由于摄影记者的身份，始终游走在纪实摄影与新闻摄影之间，他那犀利的摄影语言有时是实体的，又是隐喻的。他用最本质的影像来记录着上海这座国际化大都市的发展步伐。另一位有代表性的纪实摄影师周明，他用自己超现实的纪实摄影语言，通过对摄影技术与社会人文双重属性的结合，从其特有的角度不动声色的记录着上海的都市变迁。我们从这三位纪实摄影师作品所呈现影像空间中，不仅可以看到故事的发生场所，而且从不同的影像空间可以看到不同人物的内心状态。他们的作品通过对上海的都市影像空间和生活在上海的都市人物的真实记录，来体现都市纪实摄影的本质与生活在上海这座国际化大都市中人物的生存困境的种种联系。本文的结论是：陆元敏、雍和、周明这三位最具代表性的90年代上海都市纪实摄影家，以他们各自独特的视角为我们呈现了360度的上海都市纪实摄影的影像空间，是中国摄影向着摄影本质发展的重要里程碑。他们的上海都市纪实摄影冲破了传统的都市纪实摄影的束缚，是对“真实”的重新定义，他们对个性化的都市纪实摄影空间的探索在中国摄影史上的具有一定传播意义与价值。
[Abstract]:Image is a form of expression different from traditional characters created by human imitation and imagination of nature. In the prehistoric era before the appearance of characters, primitive humans began to make images and continue to this day, until the arrival of this image age, which is centered on visual images and has many forms of visual media agitating and confluence with each other. As a main means of visual communication, documentary photography is not only a basic link of photography language, but also a core concept of photography research. This paper attempts to draw lessons from the research results of documentary photography in the history of photography and photography theory, and combine the research methods of sociology, urban culture and other disciplines. Taking the works of the three most representative urban documentary photographers in Shanghai in the 1990s as the main cases, this paper analyzes the concrete performance of their unique photography languages to the urban documentary photography space of Shanghai. Lu Yuan-min more through their own perspective to observe what happened around their own, touch their own image, and through the camera to solidify this moment. His works fully reflect his personal perspective, the most vivid life scenes of Shanghai people who have been neglected. Yonghe's photographic language, because of his identity as a photojournalist, has always wandered between documentary photography and news photography. His sharp photographic language is sometimes physical and metaphorical. He uses the most essential images to record the pace of development of the international metropolis Shanghai. Another representative documentary photographer Zhou Ming, with his surreal documentary photography language, through the combination of photography technology and social humanities dual attributes, from its unique point of view to record the urban changes in Shanghai. From the image space presented by these three documentary photographers, we can see not only the place where the story takes place, but also the inner state of different characters from different image spaces. Their works reflect the relationship between the nature of urban documentary photography and the plight of the characters living in the international metropolis of Shanghai through the real records of the urban image space in Shanghai and the real records of the urban characters living in Shanghai. The conclusion of this paper is as follows: Lu Yuanmin, Yong he, and Zhou Ming, the three most representative urban documentary photographers of the 1990s, presented us with their own unique perspectives on the image space of the 360-degree Shanghai urban documentary photography. It is an important milestone in the development of Chinese photography towards the essence of photography. Their Shanghai urban documentary photography breaks through the shackles of traditional urban documentary photography and is a redefinition of "reality". Their exploration of personalized urban documentary photography space has certain communication significance and value in the history of Chinese photography.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J409.2

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