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在高科技解决了一般的技术问题而使图像泛滥成灾的今天,照片充斥着我们的生活。我们既可以把它视为生活的娱乐方式,也可以是生活信息走向公众空间的重要媒介,又可以是从文化艺术的角度进行思考和表现。每个人都认识照片,但摄影图像文化的意境并非被大多数人理解,甚至被忽略。因此,通过对这一现象的探讨,可进一步明确其的实用意义。《明室·摄影札记》是法国结构主义文学理论家与文化批评家罗兰·巴尔特的著名文集。他以个人情感为主线,在文化层面上,对摄影的特性、文本理论、照片的剖析、批评与研究做出了重要贡献,其文学符号对摄影图像创作有很好的启示性。本文试图通过罗兰·巴尔特的《明室·摄影札记》对摄影图片品鉴的分析,结合自身所学知识,联系当代人们的思维方式,将摄影与对象的关联进行探索。
Today, high-tech solutions to the general technical problems that flooded the image of the image, the picture is full of our lives. We can think of it as an entertainment way of life, an important medium of living information going to the public space, and we can think and express it from the perspective of culture and art. Everyone knows the picture, but the mood of the photographic image culture is not understood or even ignored by most people. Therefore, through the discussion of this phenomenon, it can further clarify its practical significance. “Ming Room photography notes” is a famous collection of French structuralist literary theorist and cultural critic Roland Barthes. His personal feelings as the main line, at the cultural level, made an important contribution to the characteristics of photography, text theory, analysis of photographs, criticism and research, and its literary symbols of photographic image creation has a good revelation. This article attempts to explore the connection between photography and object through the analysis of the tasting of photography pictures by Roland Barthes’s “Ming Room · Photography Notes”, combining with the knowledge they have learned and the way of thinking of contemporary people.