腾讯网《活着》栏目纪实摄影的叙事研究

发布时间：2018-04-20 03:23

本文选题：《活着》 + 纪实摄影　；参考：《湘潭大学》2017年硕士论文

【摘要】：“读图时代”下,各门户网站的图片频道兴起,并呈现栏目化、品牌化的趋势。大众信息消费方式从文字消费向视觉消费转变,图像霸权深刻影响现代社会叙事策略,图像成为主要的叙事语言。《活着》作为腾讯网图片频道下的栏目,聚焦大时代背景下的微观个体,深度挖掘人物内心,不回避真实存在的苦难,折射这个充满魅力、多样复杂的当代中国。该栏目每期以组图、相关文字说明或摄影者手记的形式,讲述一个人或一群人的故事,映射整个时代,展现人性中的精神内核,有冰冷,也有温暖。栏目追求正义、笔触冷静、刻画细腻、态度坦诚,聚焦“农民工”“留守儿童”“空巢老人”“精神病人”“北漂”等各类人群,栏目名称二字负荷浓郁的感情色彩。《活着》纪实摄影中富有人文关怀的情感互通,不仅能勾起读者共鸣,还与社会产生良性互动,进而收获传播力和影响力。《活着》纪实摄影栏目敦促社会问题的解决,推动社会的发展,这是它蓬勃发展的不竭动力,也是纪实摄影价值和意义的体现。纪实摄影是一种极为典型的非虚构叙事形式。《活着》纪实摄影叙事主要分为叙事内容和叙事技巧两个层面。《活着》栏目以图片故事反映社会现实,其报道题材覆盖面广,选题多元化,丰富了栏目的叙事内容和视角。其中,视频、音频、幻灯片等动态化形式的呈现提升了纪实图片的呈现效果,并推动效果从情感层面向行为层面转化。该栏目既用旁观者视角把握故事全局,又深入故事人物内心的情绪感受,结合不同的摄影技术和艺术化叙事技巧,给读者带来视觉上的享受。《活着》所具备的现实主义精神使其形成一股叙事力量,逐渐成为目击社会、推动变革的重要工具,同时指出其在叙事题材、叙事聚焦和叙事逻辑方面需要注意的问题,避免消费苦难。纪实摄影报道应平衡叙事题材的比例和栏目的整体基调,营造积极的社会景观,并调整叙事结构的逻辑,赋予更丰富的叙事层次。另外,《活着》应认清自身的责任和义务,通过适当的方式推动社会问题的解决,使栏目更好地发挥其社会影响力。
[Abstract]:Under the time of Reading Pictures, the picture channels of various portals rise, and present the trend of column and brand. The mass information consumption mode changes from the word consumption to the visual consumption, the image hegemony profoundly influences the modern society narrative strategy, the image becomes the main narrative language. Focusing on the micro-individuals in the background of the big times, digging deeply into the hearts of the characters, not avoiding the suffering of the real existence, refracting this charming, diverse and complex contemporary China. In the form of a group diagram, a description of relevant words or a photographer's notes, each issue tells the story of one person or a group of people, reflecting the whole era, showing the spiritual core of human nature, cold and warm. The column pursues justice, calm strokes, delicate portrayals, candid attitudes, and focuses on "migrant workers", "left-behind children", "empty nest old people," "mental patients", "Beijing drifters" and so on. The affective interaction of humanistic concern in documentary photography not only resonates with readers, but also creates positive interaction with society. The documentary photography column urges the solution of social problems and promotes the development of society, which is the inexhaustible motive force of its vigorous development and the embodiment of the value and significance of documentary photography. Documentary photography is a typical non-fiction narrative form. The narrative of documentary photography is mainly divided into two levels: narrative content and narrative skills. The diversification of topics enriches the narrative content and visual angle of the column. Among them, video, audio, slides and other dynamic forms of presentation improve the presentation of documentary images, and promote the effect from the emotional level to the behavioral level. This column not only uses the onlooker perspective to grasp the overall situation of the story, but also goes deep into the emotional feelings of the characters in the story, combining different photography techniques and artistic narrative techniques. The realism spirit of "alive" makes it a narrative force, and gradually becomes an important tool to witness society and promote change, and points out its narrative theme. Narrative focus and narrative logic should be paid attention to to avoid consumer suffering. Documentary photographic reports should balance the proportion of narrative subjects and the overall tone of the column, create a positive social landscape, adjust the logic of narrative structure, and endow with a richer narrative level. In addition, "alive" should recognize its own responsibility and obligation, promote the solution of social problems through appropriate ways, and make the column better exert its social influence.
【学位授予单位】：湘潭大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：G206;J419.1

【参考文献】