【作者】 边千慧；

【导师】 许平；

【作者基本信息】 中央美术学院 ， 设计艺术学， 2010， 博士

【摘要】 本文是对于20世纪60年代以来伴随后现代主义思潮兴起的“拟像”摄影的历史考察,也是围绕“拟像说”的摄影理论的梳理与回溯。自20世纪后半叶以来围绕摄影理论的种种著述中,关于“拟像说”的争论不断。拟像摄影的出现,打破了人们对于摄影及影像价值的传统认知,“拟像摄影”强调摄影图像既是“摄影主体”,又是“摄影客体”的这样一种“自我指涉”关系；而以“拟像”为名义的摄影本质审视,则来源于对现代社会生活中无所不在的“图像消费”的反省与批判。在摄影语言方面,“拟像”理论主要关注的是摄影揭示、遮蔽与再造日常现实之间的关系；在摄影媒介方面,“拟像摄影”更着力探讨从“以摄影独有的方式再现”到“再现的再现”,以及摄影形式的“居间性”等媒介性质的嬗变过程。本文以摄影史中的“拟像说”为核心,以摄影技术的复制性及其拓展为主轴,主要分为四部分,即：“拟像说”与摄影“灵光”概念的渊源,“拟像说”摄影的“复制性”阶段,“拟像说”与摄影的“模拟性”阶段；“拟像说”与摄影的“虚拟性”阶段。其中以第四章为重点考察章节。本文认为：摄影史中的“拟像”问题既表现为一种对于“摄影图式”的解构,同时也是一种新图式的建构。对于摄影史上“拟像”问题的探讨,可以丰富对于摄影作为“现代社会不可分割的认识手段”的思考,也可以加深对其社会功用以及文化意义的理解,尤其是对摄影作为一种“创建生活的方式”的文化角色的理解,将对摄影未来的发展提供另一层意义的阐释。更多还原

【Abstract】 This dissertation examines the arguments on postmodern simulacrum emerged from 1960’s by taking a theoretical study on the history of photography. It is also a study on the notion of the photographic image’s self-reflective relationship which is both the subject and the object of photography and mainly manifests itself as a deconstruction of "the photographic" emerged from the late twentieth century in the history of photography. The cultural introspection in the name of simulacrum on the essence of photography rose from the awareness of the dependence and consumption of the omnipresence photographic images in modern society, and in photography history it first appears itself as the contest on whether photographic images supersede the sense of reality in daily life. Its concentration on photographic medium mainly investigates the relations among revealing, concealing and rebuilding; its concentration on photographic image mainly investigates the relations between "photographic representation" and "the representation of photographic representation".This dissertation focuses on the theoretical discussions generated by the arguments on postmodern simulacrum in photography history by taking technical reproductivity and its evolution as the main structure and is divided into four parts accordingly, i.e. the relationship between photographic aura and postmodern simulacrum, the reproductive stage, the simulative stage and the virtual stage, in which the simulative period is the central part of the whole discussion.This thesis argues that:the discussion on postmodern simulacrum in photography history mainly manifests itself as a deconstruction of "the photographic", in the meantime, it is also a construction. By deconstruction, the historical study on photographic simulacrum has enriched and deepened the understanding of the role that photography has played as a construction and recognition of social reality, and offers a prospect of the future forms of photography.更多还原