参与式影像在中国的发展与研究

发布时间：2019-04-09 17:07

【摘要】：声音与画面组成了影视语言最基本的符号系统，而影像产业则是依靠影像生产的发展。从影像设备发明到至今的百余年里，影像技术的不断进步，对影像的产业突飞猛进起到了极大的促进作用。正如文化评论家雷蒙·威廉斯所言，“就技术发明本身来说，它很少具有社会意义。只有当它被挑选中进行生产投资的时候，只有当它为了特定的社会用途而被有意识地发展时------即当它作为一种技术发明的转向可以恰当的称为一种可以得到的技术时，其普遍的意义才得以显露。随着技术的普及应用，影视语言的功能性发生了巨大变化，它由影像下的一种权力话语逐渐转变为大众下的可以抒情言情的工具。作为思想的直接再现，大众影像生产的影响是前所未有的。改革开放以后，我国经济得到快速的发展，媒体成了国内外交流的一座桥梁，通过国外传来的影像，以及国内影像的报导，使我们更加的了解自己的国家和世界。不仅丰富了我们的知识，也开阔了我们的眼界。经过了近三十年得发展，影像从神坛走入大众，尤其是在社会背景转型的背景下，从精英拍客到大众平民影像的表达，从小众到大众，民间影像发展及其迅速，彰显了其独特的魅力与视角和及其顽强的生命力。虽然对民间舆论与自由有很大的放宽，但大陆对影片控制还是比较严格的。还未做到完全的开放与自由。依然是主流媒体独大。DV作品的出现，打破了原有带有神秘色彩和特权色彩的影视作品，破处了影像的神秘感和及其背后的权利崇拜。促进了民间影像的交流方式。论文主要从参与式影像的特点，在中国发展的状态，，在中国的价值以及参与式影像自由表达的权利等进行探讨和研究。让更多的人可以接触并使用它开记录或创作。这种参与式影像应该更加的开放化，平民化，民主化，更加的需要参与性。参与式影像是应该作为人民发声的工具。通过它了解社会底层的人民。关注他们的发展。而不应该一味的阻挠与限制。在中国的媒介体质存在结构性缺失的情况下，参与式影像的进入，就具有了特殊的意义和价值。
[Abstract]:Sound and picture constitute the most basic symbol system of film and television language, and the image industry depends on the development of image production. From the invention of image equipment to more than 100 years up to now, the continuous progress of image technology has played a great role in promoting the image industry by leaps and bounds. As the cultural critic Raymond Williams put it, "in terms of technological invention itself, it has little social significance." Only when it is selected for production investment, Its universal significance can be revealed only when it is consciously developed for a particular social purpose-that is, when its turn as a technological invention can be appropriately referred to as a technology that can be obtained. With the popularization and application of technology, the function of film and television language has changed greatly. It has gradually changed from a kind of power discourse under the image to the tool that can express the emotion under the general public. As a direct reproduction of ideas, the impact of mass image production is unprecedented. After the reform and opening up, China's economy has developed rapidly, and the media has become a bridge of communication at home and abroad. Through the images from abroad, as well as the reports of domestic images, we can learn more about our country and the world. It not only enriches our knowledge, but also broadens our horizons. After nearly three decades of development, images have gone from the shrine to the masses, especially in the context of the transformation of the social background, from elite photo maker to the expression of civilian images, from the minority to the masses, and the development and rapid development of folk images. It shows its unique charm and angle of view and its tenacious vitality. Although there is a great relaxation of public opinion and freedom, but the mainland is still relatively strict control of the film. Complete openness and freedom have not yet been achieved. DV works, breaking the original mysterious and privileged color of film and television works, breaking the mystique of the image and the worship of the rights behind it. It promotes the communication mode of folk images. This paper mainly discusses and studies the characteristics of participatory images, the state of development in China, the value of participatory images in China and the right of free expression of participatory images. Allow more people to access and use it for recording or writing. This participatory image should be more open, civilian, democratic and more participatory. Participatory images should be used as a tool for people to speak. Learn about the people at the bottom of society through it. Pay attention to their development. And should not blindly obstruct and limit. In the case of structural deficiency of media constitution in China, the entry of participatory images is of special significance and value.
【学位授予单位】：大连工业大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J05

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