影像藝術(shù)中的行為心理研究
發(fā)布時(shí)間：2018-07-16 23:05
【摘要】：本論文主要研究影像藝術(shù)中行為心理的聯(lián)系,通過(guò)對(duì)藝術(shù)家早期經(jīng)驗(yàn)的研究證明潛意識(shí)與藝術(shù)家創(chuàng)作行為的聯(lián)系；列舉藝術(shù)家早期經(jīng)驗(yàn)影響心理,以及早期經(jīng)歷中的缺失性體驗(yàn)。藝術(shù)家希望通過(guò)藝術(shù)創(chuàng)造滿足自己的未能實(shí)現(xiàn)的愿望,使被壓抑的欲望得到釋放,以此區(qū)別精神病人；藝術(shù)家成長(zhǎng)中,總會(huì)出現(xiàn)讓自己后悔和遺憾的事情,使藝術(shù)家產(chǎn)生“白日夢(mèng)”,在藝術(shù)創(chuàng)作中通過(guò)“顯夢(mèng)”或者“隱夢(mèng)”的方式來(lái)表現(xiàn),描述在自己心里千百遍的畫面；可是人們觀看到的并不是真正的藝術(shù)家所想要表達(dá)的,真正的內(nèi)涵是隱藏在畫面背后的潛意識(shí)。就如同“白日夢(mèng)”中的“顯夢(mèng)”隱藏之下的“隱夢(mèng)”。以“真我”和“假我”來(lái)說(shuō)明影像藝術(shù)中兩者之間的關(guān)系和相互作用。“真我”中的意識(shí)控制“假我”表現(xiàn)的行為,“假我”在工作時(shí),“真我”在支配他并且檢查他�！罢嫖摇�、“假我”同時(shí)存在于演員的生活,演員過(guò)著兩種生活,兩種人生,當(dāng)“假我”中的人生相對(duì)于現(xiàn)實(shí)中“真我“的人生更美好時(shí),演員就會(huì)不由自主的沉迷于“假我”,并將“假我”中的經(jīng)歷也帶入“真我”的潛意識(shí)里。由此而影響“真我”的人格和行為活動(dòng)。最后說(shuō)明影像藝術(shù)的來(lái)源是欣賞者,欣賞者是影像藝術(shù)的目的,同時(shí)是影像藝術(shù)的消費(fèi)群體,是影像藝術(shù)生存和發(fā)展的支柱。影像藝術(shù)的發(fā)展離不開(kāi)對(duì)欣賞者群體的定位包括欣賞者對(duì)色彩的感知,對(duì)畫面的感覺(jué)等等,了解他們的喜好,從而創(chuàng)作出適合欣賞者的影像藝術(shù)。影像藝術(shù)的目的是為了宣傳、教育欣賞者,使欣賞者可以從中獲得知識(shí),提高欣賞者的文化修養(yǎng)和知識(shí)面。欣賞者在觀看影像時(shí)也是為了從中獲得在現(xiàn)實(shí)生活中無(wú)法得到或者受道德規(guī)范約束而不敢去做的,欣賞者在這時(shí)會(huì)把影像中的人物當(dāng)做自己,就如拉康“鏡像論”嬰兒在六個(gè)月的時(shí)候會(huì)從母親的眼中認(rèn)識(shí)到自己的存在,從而產(chǎn)生幻想和聯(lián)想。而觀看影像后,影像藝術(shù)會(huì)使欣賞者的看法改變,從而改變欣賞者的潛意識(shí)。欣賞者在觀賞完后會(huì)思考,如果是認(rèn)同的這種價(jià)值觀,這種意識(shí)就會(huì)潛入潛意識(shí)里,在欣賞者以后的行為活動(dòng)中有意識(shí)或者無(wú)意識(shí)的改變欣賞者的心理行為,通過(guò)以上論據(jù)來(lái)說(shuō)明研究影像藝術(shù)中的行為離不開(kāi)心理。
[Abstract]:This paper mainly studies the association of behavioral psychology in the art of image. Through the study of the early experience of the artist, it proves the relationship between the unconscious and the artist's creative behavior; the artist's early experience affects the psychology and the lack of experience in the early experience. Let the depressed desire be released to distinguish the mental patient; in the growth of the artist, there will always be a matter of regrets and regrets that make the artist produce "daydream", in the form of "dream" or "hidden dream" in the artistic creation, to describe a thousand and hundreds of pictures in his own heart; but people see it. It is not what the real artist wants to express, the true connotation is the subconscious hidden behind the picture. It is like "the hidden dream" hidden in the "dream" hidden in the "daydream". "True ego" and "false me" to explain the relationship and interaction between the two in the image art. "True ego" in the consciousness of "false" "The behavior of the act," false me "at work," true ego "dominates him and checks him." true me "," false me "exists in the life of the actor, the actor passes two kinds of life, two kinds of life, when the life of" false me "is better than the real" true self "in the reality, the actor will involuntarily indulge in" false ". "I", and the experience of "false me" into the subconscious of "real me". Thus, it affects the personality and behavior of "real me". Finally, it shows that the source of the image art is the appreciating, the appreciating is the purpose of the image art, the consumer group of the image art, the pillar of the survival and development of the image art. The development can not be separated from the audience's position, including the appreciation of the appreciation of the color, the feeling of the picture, and so on, to understand their preferences, and thus create the image art for the appreciative. The purpose of the image art is to propagate and educate the appreciative, so that the appreciative can acquire knowledge and improve the culture and knowledge of the appreciative. In view of the image, an appreciating person is not afraid to do it in real life or under the constraint of moral norms. The appreciating person will consider the figure in the image as himself, as Lacan's "mirror" baby will recognize its existence from the parent's eyes in the eyes of the mother in six months. Fantasy and association. And after watching the image, the image art changes the opinion of the appreciator and changes the subconscious mind of the appreciator. The appreciator will think after watching it. If it is the value that is recognized, the consciousness will be subconscious in the subconscious, consciously or unconsciously changing the appreciator in the later behavior of the appreciator. Psychological behavior, through the above arguments, shows that the study of image art is inseparable from psychology.
【學(xué)位授予單位】：大連工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905
本文編號(hào)：2127963
[Abstract]:This paper mainly studies the association of behavioral psychology in the art of image. Through the study of the early experience of the artist, it proves the relationship between the unconscious and the artist's creative behavior; the artist's early experience affects the psychology and the lack of experience in the early experience. Let the depressed desire be released to distinguish the mental patient; in the growth of the artist, there will always be a matter of regrets and regrets that make the artist produce "daydream", in the form of "dream" or "hidden dream" in the artistic creation, to describe a thousand and hundreds of pictures in his own heart; but people see it. It is not what the real artist wants to express, the true connotation is the subconscious hidden behind the picture. It is like "the hidden dream" hidden in the "dream" hidden in the "daydream". "True ego" and "false me" to explain the relationship and interaction between the two in the image art. "True ego" in the consciousness of "false" "The behavior of the act," false me "at work," true ego "dominates him and checks him." true me "," false me "exists in the life of the actor, the actor passes two kinds of life, two kinds of life, when the life of" false me "is better than the real" true self "in the reality, the actor will involuntarily indulge in" false ". "I", and the experience of "false me" into the subconscious of "real me". Thus, it affects the personality and behavior of "real me". Finally, it shows that the source of the image art is the appreciating, the appreciating is the purpose of the image art, the consumer group of the image art, the pillar of the survival and development of the image art. The development can not be separated from the audience's position, including the appreciation of the appreciation of the color, the feeling of the picture, and so on, to understand their preferences, and thus create the image art for the appreciative. The purpose of the image art is to propagate and educate the appreciative, so that the appreciative can acquire knowledge and improve the culture and knowledge of the appreciative. In view of the image, an appreciating person is not afraid to do it in real life or under the constraint of moral norms. The appreciating person will consider the figure in the image as himself, as Lacan's "mirror" baby will recognize its existence from the parent's eyes in the eyes of the mother in six months. Fantasy and association. And after watching the image, the image art changes the opinion of the appreciator and changes the subconscious mind of the appreciator. The appreciator will think after watching it. If it is the value that is recognized, the consciousness will be subconscious in the subconscious, consciously or unconsciously changing the appreciator in the later behavior of the appreciator. Psychological behavior, through the above arguments, shows that the study of image art is inseparable from psychology.
【學(xué)位授予單位】：大連工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905
【參考文獻(xiàn)】
相關(guān)期刊論文 前1條
1 童慶炳;;作家的童年經(jīng)驗(yàn)及其對(duì)創(chuàng)作的影響[J];文學(xué)評(píng)論;1993年04期
，本文編號(hào)：2127963
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