借助文化研究、视觉文化理论等新的理论资源,画报已经成为继小说之后晚清研究/上海研究的热点话题。画报作为一种视觉性呈现,再加上其大众传播的特性,成为阐释晚清/中国现代性的重要媒介。晚清画报作为一种新的观看体验,涉及到如何把观看者的位置组织到视觉呈现之中的问题。如果说《点石斋画报》作为石印画报最为杰出的成果,那么20世纪初期伴随着照相技术的成熟,摄影画报开始取代石印画报成为画报的主要呈现方式。这个时期的画报形态多是摄影和石印相混杂,直到20世纪30年代才出现以摄影为主体的画报,如《良 Drawing on the new theoretical resources such as cultural studies and visual culture theories, pictorial posters have become the hot topics in the late Qing studies / Shanghai studies after the novel. Illustrated as a visual presentation, coupled with the characteristics of its mass communication, pictorial becomes an important medium for interpreting the late Qing / modernity of China. Late Qing Pictorials as a new viewing experience involves the question of how to organize the viewer’s position into the visual presentation. If “Dianshizhai Pictorial” is the most outstanding achievement of lithography, then the early 20th century, accompanied by the maturity of photographic techniques, photographic art newspaper began to replace the lithographic pictorial as the main presentation of Pictorial. Pictorial forms at this period were mostly photographic and lithographic hybrids, until the 1930s only appeared as the main pictorial photography, such as "good