本文選題：攝影 + 真實性　； 參考：《東華大學》2004年碩士論文

【摘要】： 本文主要研究有關(guān)攝影的真實性問題，這里所指的真實性主要界定在攝影所能記錄的社會事實與歷史真實的可信性方面。作為研究對象的照片并不局限于紀實類攝影，筆者選取了1968年全年的《人民畫報》中表現(xiàn)女性題材的照片作為本文的研究對象。 通過概述攝影發(fā)展的歷史，筆者提出了攝影的真實性問題。 筆者把“文革”時期的攝影作為在當時政治形勢下的藝術(shù)活動之一種進行分析。它和那個時期的藝術(shù)活動機制、藝術(shù)活動的思想準則等關(guān)系密切。除此之外，前蘇聯(lián)的藝術(shù)觀念和中國攝影發(fā)展歷程的自身特點也影響著攝影活動的觀念。 毛澤東對于女性美的標準以及江青所推行的“樣板戲”，使那個時期產(chǎn)生了“不愛紅裝愛武裝”的“鐵姑娘”形象，這個在中國歷史上前所未有的形象在當時表現(xiàn)了社會主義的優(yōu)越性，這個審美標準成為政治宣傳的需要。為何會出現(xiàn)這樣的女性形象?她們在“文革”中的實際生活狀況如何?筆者通過對史料的搜集以及對女性理論的研究分析了其成因。 “文化大革命”時期，能夠在社會上得以傳播、發(fā)行數(shù)量最大的就是在當時的雜志——畫報、報紙等這樣的出版物上登載的攝影圖片，這些照片屬于記錄和報道的性質(zhì)。筆者通過分析研究對象的攝影影像構(gòu)成要素，以及它們與馬克-呂布作品的比較，發(fā)現(xiàn)“文革”攝影表現(xiàn)的片面性，只見有關(guān)政治方面的題材，而沒有任何有關(guān)個人日常生活的多角度展示和記錄，可見當時攝影“概念化”的嚴重程度。這些照片以女性私人性層面生活的缺失從反面揭示了“文革”時期的攝影與當時的歷史狀況、美術(shù)作品中女性形象的聯(lián)系。 筆者還深入分析了攝影在客觀方面、主觀方面和影像傳播過程中的局限性，發(fā)現(xiàn)以攝影為記錄手段會與現(xiàn)實的真實性產(chǎn)生一定的偏差。因此，攝影的“真實性”應(yīng)該是時間范疇中的歷史真實性，這種真實性不可能是絕對的，，它只能是相對的。 由此，筆者得出結(jié)論：照片可以作假，但是絕對無法超越其所處 的時代的局限。除了現(xiàn)實的真實之外，其拍攝立場完全能夠反映拍攝 者當時的心態(tài)。攝影作品通過一定意識形態(tài)下的傳播媒介影響著公眾 的視角及其價值觀和道德判斷標準。這個時期的攝影作品就如同“文 革”時期的標本，也成為歷史的一部分，以一種反證的方式見證了當 時的社會狀況、政治及藝術(shù)活動的環(huán)境，揭示了那個時期的歷史真相。
[Abstract]:This paper mainly studies the authenticity of photography, which is mainly defined in the credibility of social fact and historical truth recorded by photography.As the object of study, the photographs are not limited to documentary photography. The author chooses the pictures of women in the people's Illustrated in 1968 as the object of this paper.By summarizing the history of photography, the author puts forward the authenticity of photography.The author analyzes photography during the Cultural Revolution as one of the artistic activities under the political situation at that time.It is closely related to the mechanism of artistic activities and the ideological norms of artistic activities in that period.In addition, the artistic concept of the former Soviet Union and the characteristics of the development of Chinese photography also affect the concept of photography.Mao Zedong's standards of female beauty and the "model opera" promoted by Jiang Qing made the "iron girl" image of "not loving the red dress and loving the armed forces" in that period.This unprecedented image in Chinese history showed the superiority of socialism at that time, and this aesthetic criterion became the need of political propaganda.Why is there such a female image?What are their actual living conditions during the Cultural Revolution?Through the collection of historical data and the study of women's theory, the author analyzes its causes.During the "Cultural Revolution," the largest number of such publications as magazines, pictorial, newspaper, and so on were published in such a way that they were recorded and reported.By analyzing the elements of photographic images of the objects of study and their comparison with the works of Mark Lv Bu, the author finds that the photographic performance of the Cultural Revolution is one-sidedness, and only about the subject matter of politics.Without any multi-angle display and recording of individuals' daily lives, the severity of the conceptualization of photography at the time was evident.These photos reveal the relationship between the photography during the Cultural Revolution and the historical situation of the time and the images of women in the works of fine arts.The author also analyzes the limitations of photography in objective, subjective and image dissemination, and finds that photography as a means of recording will lead to a certain deviation from the reality of authenticity.Therefore, the "authenticity" of photography should be historical authenticity in time category, which can not be absolute, it can only be relative.From this, the author concludes that the photograph can be falsified, but it is absolutely impossible to go beyond its location.The limitations of the times.In addition to the reality of reality, its shooting position can fully reflect the shooting.The state of mind at that time.Photographic works influence the public through the media under certain ideologyAnd its values and moral judgment standards.This period of photography is like "text"The specimens of the period of the Revolution also became part of history, and witnessed in an uncorroborating manner thatThe social conditions, the environment of political and artistic activities, reveal the historical truth of that period.
【學位授予單位】：東華大學
【學位級別】：碩士
【學位授予年份】：2004
【分類號】：J40

【引證文獻】

相關(guān)碩士學位論文 前2條

1 劉婷婷;現(xiàn)代攝影的意象創(chuàng)造[D];北京服裝學院;2008年

2 呂珍;論紀實攝影的主觀性與客觀性[D];山東工藝美術(shù)學院;2013年

本文編號：1758428