透明的图像

【作者】 胡中节；

【导师】 曹意强；

【作者基本信息】 南京师范大学 ， 摄影， 2013， 博士

【摘要】 摄影作为一种独特的视觉媒介,具有“客观”再现现实的能力,这种再现性一方面基于摄影成像的自动性和机械性,另一方面来源自西方绘画理论中的传统再现观念。在对摄影本性的探讨中,文章指出任何摄影影像都是再现性的图像,摄影的这种再现能力既基于拍摄和成像技术的自动性和机械性,更是源于摄影影像与现实之间的一种直指关系,即照片是现实的印痕,因此是一种透明的图像。文中借鉴了皮尔斯的符号学、亨利·范·利耶以及罗莎琳德·克劳斯等人的摄影理论,进一步提出摄影是一种指示的像似符,指出它既具有与客观现实景物之间天然的一一对应关系,同时却不是现实景物的四维时空的绝对复制,而是经过抽象后呈现在平面中的银盐颗粒或是像素点构成的明暗、色彩区域而已。所以,此种特性必然决定在文化实践方面与绘画等其它视觉艺术极为迥异。由于摄影具有的透明性,所以要实现它的社会文化的价值和意义,就需要提供具体的上下文语境,才能在文化实践中获得具体的阐释、赋予独特的价值。更多还原

【Abstract】 As a unique visual media, photography represents the reality objectively. This representing ability rooted on the automatic and mechanical properties of the process of producing images and the idea of representing in the western painting theory. In the discussion of photography essence, the article points out that any photographic images are the trace of reality, the indexical icon. As the main point of this dissertation, the author argues that this property of photography comes from the similarity between shooting and imaging-making technology, and reference and analogue relation between images and reality. After an analysis of the semiotics of Charles Sanders Peirce, the photography theory of Henri van Lier and Rosalind Krauss’s art theory, the author puts forward the nature of photography is indexical icon, and points out that an photographic image is not a copy or a reflection of the reality, but argues that the messages on a photographic image could be find in reality and it an index of real object. So, the nature of photography is totally different from painting theory and other visual arts theory, and never changed from Daguerotype to digital photograph, determining the meaning and use of photograph in cultural and social practices.更多还原