拟像的摄影史考察
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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。
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.
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。
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.
引文
1[法]让.波德里亚：《完美的罪行》,王为民译,北京,商务印书馆,2000年版,第8-9页。本书中国版本为2000年,而英文版为1996年。
2 Victor Burgin ed., Thinking Photography (London:Macmillan Press LTD,1982),11.
12【德】瓦尔特.本雅明：《迎向灵光消逝的年代：本雅明论艺术》,许绮玲林志明译,桂林,广西师范大学出版社,2004年版,第61-62页。
13本雅明,《迎向灵光消逝的年代》,第65页。
14【法】让·波德里亚：《象征交换与死亡》,车槿山译,南京,译林出版社,2006年版,第76页。
15本雅明,《迎向灵光消逝的年代》,第27页。
20详情可参考Graham Clark, Oxford History of Art:Photography, Oxford University Press,1997.
21 Liz Wells ed., Photography:A Critical Introduction,4th ed.(London and New York:Routledge,2009),11.
22[英]伊安.杰夫里：《摄影简史》,晓征筱果译,北京,三联书店,2002年版,第7-8页。
25 "technology noun" The Oxford Dictionary of English (revised edition), Catherine Soanes & Angus Stevenson ed., Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
26 Martin Heidegger, "The Question Concerning Technology," in Martin Heidegger:Philosophical and Political Writings, ed. Manfred Stassen (New York, London:Continuum,2003),281.
27 Heidegger, "The Question Concerning Technology," 293.
28 Gary Sampson, "Hisotries, Theories, Criticism," in The Concise Focal Encyclopedia of Photography,123-124.
43波德里亚：《完美的罪行》,第8-9页。
45再现的再现,详见本文第四章,此略。
46[法]于贝尔·达弥施：《落差：经受摄影的考验》,董强译,桂林,广西师范大学出版社,2007年版,第2-3页。
47一般而言从哲学上说,真理的深刻超越任何文字与图像的表现与想象。图像是居于人与世界之间的中介,
48 "simulacrum" in Oxford English Dictionary,2nd ed.1989.
49 "simulacrum" in Cultural Theory:the Key Concepts,2nd ed. eds. Andrew Edgar & Peter Sedgwick (London and New York:Routledge,2008),312.
50实际上这种真实更近似于一种真理truth,而不是现实reality。
51 "philosophy noun" in The Oxford Dictionary of English (revised edition), Catherine Soanes & Angus Stevenson eds., Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
52 Patrizia di Bello "realism" The Oxford Companion to the Photograph. Ed. Robin Lenman. Oxford University Press 2005. Oxford Reference Online. Oxford University Press.
53[法]居易.德波：《景观社会》,王昭凤译,南京,南京大学出版社,2006年版,第3页。
54 Thomas Lawson, "Generation in Vitro," ArtForum 23 (September 1984),99.
55 Jean Baudrillard, The Gulf War Did Not Take Place (Bloomington:Indiana University Press,1991).
61详见德勒兹,《拟像与古代哲学》一文。
62 Christopher Norris, What's Wrong with Postmodernism:Critical Theory and the Ends of Philosophy (Baltimore: The Johns Hopkins University Press,1990),182.
63 Douglas Kellner ed. Baudrillard:A Critical Reader (Oxford:Blackwell,1994),13.
64 See:Jean Baudrillard, "The Precession of Simulacra", in Simulacra and Simulation (The University of Michigan Press,1994).
65参：詹明信,《后现代主义和消费社会》一文。
66 Martin Lister, Jon Dovey, Seth Giddings, Iain Grant & Kieran Kelly, New Media:A Critical Introduction (London, New York:Routledge,2009),44.
67[德]瓦尔特·本雅明：《迎向灵光消逝的年代：本雅明论艺术》,许绮玲林志明译,桂林,广西师范大学出版社,2004年版,第26页。
68[法]让·波德里亚：《象征交换与死亡》,车槿山译,南京,译林出版社,2006年版,第78页。
69本雅明,《迎向灵光消逝的年》,第52页。
70[德]瓦尔特.本雅明：《本雅明文选》,陈永国马海良编,北京,中国社会科学出版社,1999年版,第292页。
71在文中,本雅明引用了凡·布勒塔诺的看法。参见《迎向灵光消逝的年代：本雅明论艺术》,第21页。
72本雅明,《迎向灵光消逝的年代》,第21页。
73参见：本雅明,《迎向灵光消逝的年代》,第17-21页。
74本雅明,《迎向灵光消逝的年代》,第32-33页。
75参见《迎向灵光消逝的年代》。
76波德里亚：《完美的罪行》,第113页。
77 David Hockney, "Camera Lucida," in Images:A Reader, eds. Sunil Manghani, Arthur Piper & Jon Simons (London:SAGE Publications,2006),233.
78 Ashley la Grange, Basic Critical Theory for Photographers (Focal Press,2005),30.
79 Tiphaigne De La Roche, "Photography Predicted," in Photography:Essays & Images, ed. Beaumont Newhall (The Museum of Modern Art,1980),13-14.
80沃纳·玛利亚,《摄影与摄影批评家》,第4页。
81波德里亚,《完美的罪行》,第113页。
82本雅明,《迎向灵光消逝的年代》,第17-18页。
83 Peter Galison, "Images Scatter Into Data, Data Gather Into Images," in Iconoclash, eds. Bruno Latour & Peter Weibel (Cambridge, Massachusetts:MIT Press,2002),300.
84 Louis Daguerre, "Daguerreotype," in Classic Essays on Photography, ed. Alan Transtenberg (New Heaven, Coon:Leet's Island Books,1980),13.
85 William Henry Fox Talbot, "Some Account of the Art of Photogenic Drawing, or, The Process by Which Natural Objects May Be Made to Delineate Themselves without the Aid of the Artist's Pencil," in Photography: Essays & Images, ed. Beaumont Newhall(The Museum of Modern Art,1980),23.
86本雅明,《迎向灵光消逝的年代》,第32-33页。
87 "aura noun" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
88本雅明,《迎向灵光消逝的年代》,第63页。
89本雅明,《迎向灵光消逝的年代》,第26页。
90本雅明,《迎向灵光消逝的年代》,第26页。
91本雅明,《迎向灵光消逝的年代》,第32页。
92 Allan Sekula, "On the Invention of Photographic Meaning," in Thinking Photography,94.
93本雅明,《迎向灵光消逝的年代》,第63页。
94本雅明,《迎向灵光消逝的年代》,第62页。
95本雅明,《迎向灵光消逝的年代》,第65页。
96本雅明,《迎向灵光消逝的年代》,第32页。
97波德里亚,《象征交换死亡》,第76页。
98沈语冰：《20世纪艺术批评》,杭州,中国美术学院出版社,2003年版,第118页。
99参见前文的奇迹之镜及相关探讨,此处略。
100本雅明,《本雅明文选》,第60页。
101桑塔格,《论摄影》,第16页。
102 Jean Baudrillard, "How Can You Jump Over Your Shadow When You No Longer Have One?" in The Illusion of the End (Stanford, California:Stanford University Press,1994),101.
103 "fetish noun" The Oxford Dictionary of English (revised edition). ed. Catherine Soanes & Angus Stevenso Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
104本雅明,《迎向灵光消逝的年代》,第74页。
105 Victor Burgin, "Photographic Practice and Art Theory," in Thinking Photography,40.
106沃纳.玛利亚：《摄影与摄影批评家》,第195页。
107 Paul Virilio, The Vision Machine (Bloomington and Indianapolis:The Indiana University Press,1994),21.
111"reproduction" in Oxford English Dictionary, DRAFT REVISION Dec.2009
112 "reproducibility" in Oxford English Dictionary, DRAFT REVISION Dec.2009
113 "copy" in Oxford English Dictionary, SECOND EDITION 1989.
114本雅明,《迎向灵光消逝的年代术》,第58页。
115同上。
116本雅明,《迎向灵光消逝的年代》,第64页。
117沃纳.玛利亚,《摄影与摄影批评家》,第16页。
118 Jean Baudrillard, " Fatal Strategy,'in Jean Baudrillard:Selected Writings, ed. Mark Poster (Stanford, California:Stanford University Press,1988),188.
119 "original" in Oxford English Dictionary, DRAFT REVISION Dec.2009.
120巴特,《明室》,第121页。
121[匈]安德烈.巴赞：《电影是什么》,崔君衍译,北京,中国电影出版社,1987年版。
122桑塔格,《论摄影》,第15页。
123桑塔格,《论摄影》,第16页。
127 http://www.photoquotes.com/showquotes.aspx?id=38&name=Ray,Man
128 "photographic" in Oxford English Dictionary, DRAFT REVISION Mar.2009.
129 Tagg, The Burdern of Representaion,64.
140 Grundberg, Crisis of the Real,14.
141[法]安托瓦纳.贡巴尼翁：《现代性的五个悖论》,许钧译,北京,商务印书馆,2005年版,第41页。
142 Quentin Bajac & Christian Caujolle, The Abrams Encyclopedia of Photography (New York:Harry N. Abrams. 2004),64.
144 Jean-Luc Daval, Photography:History of Art (New York:Rizzoli International Publications, Inc.,1982),134.
145 Ansel Adams, "What is Good Photography," in Photographers on Photography, ed. Nathan Lyons (New York: George Eastman House,1966),23-24.
146 Edward Weston, "Seeing Photographically,"in The Photography Reader,106.
147 Laszlo Moholy-Nagy, "Photography," in Classic Essays on Photography,166.
148 Edward Weston, "Seeing Photographically," in The Photography Reader,106.
149 Laszlo Moholy-Nagy, "Unprecedented Photography," in Photography in the Modern Era:European Documents and Critical Writings,1913-1940, ed. Christopher Philips (New York:Aperture,1989),85.
150 Ibid.,85.
151 Eleanor Hight ed. Picturing Modernism:Moholy Nagy and Photography in Weimar Germany (Cambridge, MA: MIT Press,1995),3.
152 Weston, "Seeing Photographically," in The Photographic Reader,107.
153 Ibid.,108.
154 Edward Weston Omnibus:a Critical Anthology, ed. Newhall and Conger (Salt Lake City:Peregrine Smith Books,1984),48.
155 Ansel Adams, Making a Photograph (New York:Studio Publications,1935).60.
156 Adams, "What is Good Photography," 24.
157桑塔格,《论摄影》,第91页。
158 Wells ed. The Photoeraphv Reader,71
159 Tagg, The Burden of Representation,4.
160 Constance B. Schulz, "documentary photography" in The Oxford Companion to the Photograph, Robin Lenman ed., Oxford University Press 2005, Oxford Reference Online, Oxford University Press.
161 Wells ed. The Photography Reader,253.
162本雅明,《迎向灵光消逝的年代》,第42页。
166 Henri Cartier-Bresson, URL (consulted Nov.2009): http://www.washingtonpost.com/wp-dyn/articles/A39981-2004Aug4.html/
167 Henri Cartier-Bresson, The Mind's Eye:Writings on Photography and Photographers (New York:Aperture, 2005),42-43.
168 Kevin Moore, "decisive moment," in The Oxford Companion to the Photograph, ed. Robin Lenman (Oxford: Oxford University Press,2005).
169 John Szarkowski, "Introduction to the Photographer's Eye," in The Photography Reader,99.
170 Ibid.,100.
179 http://www.photoquotes.com/showquotes.aspx?id=113&name=Stieglitz,Alfred
180贡巴尼翁,《现代性的五个悖论》,第45页。
181 Paul Strand, "Letter to the Editor," Photographic Journal 103 (no.7,1963),216.
182达弥施,《落差》,第16页。
183 Patrizia di Bello "modernism and photography" The Oxford Companion to the Photograph. Ed. Robin Lenman. Oxford University Press 2005. Oxford Reference Online. Oxford University Press.
184波德里亚,《象征交换死亡》,第105页。
185 Rosalind Krauss, "A Note on Photography and the Simulacral," October 31 (Winter 1984),63
186 Wells ed. The Photography Reader,149.
187详细见前文“后现代主义拟像论”章节,此处略。
188 Virilio,The Vision Machine,22.
189利奥塔尔,《后现代状态》,第3页。
190德波,《景观社会》,第3页。
191本雅明,《迎向灵光消逝的年代》,第61-62页。
192德波,《景观社会》,第3页。
193波德里亚,《象征交换与死亡》,第76页。
194波德里亚,《象征交换与死亡》,第107页。
195 Paul Virilio, The Vision Machine, p.22
196桑塔格,《论摄影》,第178页。
197 Michael Camille, "Simulacrum" in Critical Terms for Art History,2nd, Robert S. Nelson & Richard Shiff eds., The University of Chicago Press,2003,p 43.
198 "simulation" in Oxford English Dictionary,2nd ed,1989.
199本雅明,《迎向灵光消逝的年代》,第89页。
200 Jean Baudrillard, "The Hell of the Same" in The Transparency of Evil, Verso,1993, p.118
201波德里亚：《象征交换与死亡》,第105页。
202贡巴尼翁,《现代性的五个悖论》,第114页。
203 Jean Baudrillard, "The Ecstasy of Photography," in Jean Baudrillard:Art and Artefact, Nicolas Zurbragg e
(London:Sage Publications,1997),33. 204 Douglas Crimp, "The Photographic Activity of Postmodernism," October 15, (winter 1980):91-101.
205 Douglas Crimp, The Photographic Activity of Postmodernism, October, New York, nr.15, Winter 1980.
207桑塔格,《论摄影》,第112页。
206 Andy Warhol, The Philosophy of Andy Warhol (San Diego, New York & London:A Harvest Book, 1975),77.
208[美]乔治.瑞泽尔：《后现代社会理论》,谢立中等译,北京,华夏出版社,2003年版,第8页。
209 "postmodernism" The Oxford Dictionary of Literary Terms. Chris Baldick. Oxford University Press,2008. Oxford Reference Online. Oxford University Press.
210顾铮,《世界摄影史》,第121页。
211 "postmodernism" The Oxford Dictionary of Literary Terms. Chris Baldick. Oxford University Press,2008. Oxford Reference Online. Oxford University Press.
212 Jean Baudrillard, "Objects, Images, and the Possibilities of Aesthetic Illusion," in Jean Baudrillard:Art and Artefact, ed. Nicholas Zurbrugg (London:SAGE Publications,1997),16.
213 Saul Ostrow, "Major Themes and Photographers of the 20th Century," in The Focal Encyclopedia of Photography,185.
214 Cindy Sherman, except from an interview with Wilfried Dickhoff, in Prospect:Photography in Contemporary Art, ed. Peter Weiermair (Zurich, Switzerland:Edition Stemmle,1996),280.
215 Chalotte Cotton, The Photograph as Contemporary Art (London:Thames & Hudson Ltd,2004).
216 http://www.photoquotes.com/showquotes.aspx?id=286&name=Sander,Augus
217 Krauss, "A Note on Photography and the Simulacral," October 31.
220 "appropriation" A Dictionary of Modern and Contemporary Art by Ian Chilvers and John Glaves-Smith. Oxford University Press Inc. Oxford Reference Online. Oxford University Press.
221波德里亚,《象征交换与死亡》,第107页。
222注：本图已经在导论一章出现过,故采用最初的标号,即图7.。
223详见其官方网站http://www.afterwalkerevans.com/
224 http://www.aftersherrielevine.com/statementl.html
225 Richard Prince, Why I go to the Movies Alone (New York:Tantam Press,1983),63.
226 http://www.sugimotohiroshi.com/diorama.html
236桑塔格,《论摄影》,第3页。
237 Baudelaire,"The Modern Public and Photography",88.
238 http://en.wikipedia.org/wiki/Douglas Huebler
239 Douglas Huebler, quoted in A Companion to Contemporary Art since 1945, ed. Amelia Jones (Oxford: Blackwell,2006).
240 "gaze verb" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
241 "inspect verb" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
242 Paul Strand, "The Art Motive in Photography," in British Journal of Photography, (1923),613.
243本雅明,《迎向灵光消逝的年代》,第32页。
244本雅明,《迎向灵光消逝的年代》,第67页。
245 Burgin, Thinking Photography,9.
249 Warhol, The Philosophy of Andy Warhol,68.
250 Jurgen Habermas, "The Public Sphere," in The Information Society Reader, ed. Frank Webster (London and New York:Routledge,2004),350.
251真实、现实,英义中统称为reality。而中文含义中,“真实”还有类似于truth(即真理)的意味。
252 Jean Baudrillard, "The Violence of Images. Violence Against the Image, "Art US 23,no.6 (2008),38.
253[法]米歇尔·福柯,《规训与惩罚》,刘北城杨远婴译,北京,三联书店,1999年版,第227页。
254同上。
255 "implosion" in Oxford English Dictionary, SECOND EDITION,1989.
256 Jean Baudrillard,"The Mass; the Implosion of the Social in the Media" in Jean Baudrillard:Selected Writings, Mark Poster ed, Stanford University Press,1998, p.213-214
258本雅明,《本雅明文选》第291-292页。
259本雅明,《迎向灵光消逝的年代》,第94页。
260 http://www.photoquotes.com/showquotes.aspx?id=99&name=Riboud,Marc
261[法]让·波德里亚：《消费社会》,刘成富全志刚译,南京,南京大学出版社,2000年版,第12-13页。
262 Jean Baudrillard, "The Violence of Images, Violence Against the Image,"Art US 23, no.6 (2008),39.
264 Andy Warhol, The Philosophy of Andy Warhol (London:A Harvest Book,1975),77.
263 Ibid.,38.
270 Karl Marx, "The Fetishism of the Commodity," in The Visual Culture Reader,123.
271贡巴尼翁,《现代性的五个悖论》,第116-117页。
272 Jean-Francios Lyotard, The Postmodern Condition (Manchester:Manchester University Press,1984),76.
273 Kristine Stiles & Peter Selz eds. Theories and Documents of Writings (California:University of California Press,1996),295.
274 Jeff Koons in Theories and Documents of Contemporary Art:a Sourcebook of A rtists'Writings,381.
275 Clement Greenberg, "Avant-garde and Kitsch," in Art Theory and Criticism:An Anthology of Formalist Avant-Garde, Contextualist and Post-Modernist Thought, ed Sally Evere (North Carolina:McFarland & Company, 1991),32.
276 Jeff Koons in Theories and Documents of Contemporary Art,381.
277 Ibid.,383.
278贡巴尼翁,《现代性的五个悖论》,第115页。
279 Barbara Kruger in Theories and Documents of Contemporary Art,378.
280参见：本雅明,《迎向灵光消逝的年代》,第19页,第21页。
281参见：巴特,《明室》,第148页。
282波德里亚,《象征交换死亡》,第107页。
283波德里亚,《完美的罪行》,第72页。
284德波,《景观社会》,第3页。
285卡林内斯库,《现代性的五副面孔》,第280页。
286巴特,《明室》,第8-9页。
287 David Hopkins, After Modern Art:1945-2000 (Oxford:Oxford University Press,2000).
288波德里亚,《象征交换死亡》,第105页。
289本文前面的相关段落已经解释过了,真实、现实,英文中统称为reality。而中文含义中“真实”还有类似于truth(即真理)的意味。
290 Batchen, Burning With Desire,213.
291本雅明,《迎向灵光消逝的年代》,第60页。
292 Melissa M. Littlefield & Pauline Kusiak "representation and technology," in Science, Technology, and Society, ed. Sal Restivo (Oxford:Oxford University Press,2005).
293 Baudrillard, Simulacra and Simulation,6.
294 Sarah Kember, "The Shadow of the Object:Photography and Realism," in The Photography Reader,202.
295参见《后现代状态》,第80-86页。
305 Paul Virilio, The Vision Machine (Bloomington and Indianapolis:Indiana University Press,1994),73.
306 David Croteau & William Hoynes, Media Society,3rd ed.(London:Sage Publications,2003),313.
307 Jay David & Richard Grusin, Remediation:Understanding New Media,112.
308 "postphotographic" in The Focal Encyclopedia of Photography (4th edition), Michael R. Peres ed., Focal Press, 2007, p.xxxii
309 Batchen, Each Wild Idea,127.
310 William J. Mitchell, The Reconfigured Eye:Visual Truth in the Post-Photographic Era (MA, Cambridge:MIT Press,1992);19.
311 Batchen, Each Wild Idea,143.
312 Lev Manovich, "The Paradoxes of Digital Photography" in The Photography Reader,241.
313 "virtual adjective" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
314 Lev Manovich, The Language of New Media, The MIT Press,2001.
315 "virtuality" in Oxford English Dictionary, SECOND EDITION 1989.
316波德里亚,《完美的罪行》,第8页。
317 "Virtual Reality" in Oxford English Dictionary, ADDITIONS SERIES 1997.
318 Lister et al. New Media:a Critical Introduction,44.
319《明室》是巴特最后的作品。
320巴特,《明室》,第6页。
321 Rosalind Krauss, "A Note on Photography and the Simulacral," Convergence 5 (no.2,1999),58-59.
322 Bill Nichols, "The Work of Culture in the Age of Cybernetic Systems," in The New Media Reader,631.
323 Tagg, The Burden of Representation,65.
328 Sven Lutticken, "The footprint and the Readymade," Afterimage 29 (no.1,2001).
329 Bill Nichols, "The Work of Culture in the Age of Cybernetic Systems,"in The New Media Reader, Noah Wardrip-Fruin & Nick Montfort eds.(Cambridge, MA:MIT Press,2003),631.
330 Martin Lister et al., New Media:A Critical Introduction (London and New York:Routledge,2009).
331桑塔格,《论摄影》,第153页。
332桑塔格,《论摄影》,第3页。
333 Jay David & Richard Grusin, Remediation:Understanding New Media,112
334 http://www.nytimes.com/2007/05/13/arts/design/13camh.html
335 Lev Manovich, The Language of New Media (Cambridge, MA:MIT Press,2001).
336如Jeff Wall, Cindy Sherman, Joel-Peter Witkin, Gregory Crewdson.等人都是运用舞台布景式的表现手法最为典型的代表。
339桑塔格,《论摄影》,第17页。
340 Lev Manovich, "The Paradoxes of Digital Photography," in The Photography Reader,242.
341 Batchen, Burning with Desire,215.
342 Lev Manovich, "Image Future," URL (consulted Feb.2010):http://www.manovich.net/
343波德里亚,《完美的罪行》,第37页。
344 Batchen, Each Wild Idea, 141.
345 Jorge Ribalta, "Molecular Documents:Photography in the Post-Photographic Era, or How Not to be Trapped into False Dilemmas," in The Meaning of Photography, eds. Robin Kelsey & Blake Stimson (Clark Art Institute, 2008),180.
346 Barbara Savedoff, "Documentary Authority," in Photography and Philosophy, ed. Scott Walden (Blackwell Publishing,2008),136.
347 Walter Benjamin, "Imperial Panorama," in The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media,75.
348 Lev Manovich, "Database as Symbolic Form," Convergence 5, no.2 (1999):80-99.
349 "database" in Oxford English Dictionary,2nd ed,1989.
350 Hans Ulrich Gumbrecht, Production of Presence:What Meaning Cannnot Convey (Stanford, California: Stanford University Press,2004), xv.
351 http://www.photoquotes.com/showquotes.aspx?id=93 & name=Eisenstaedt,Alfred
352巴特,《明室》,第136-137页。
353 Lev Manovich, "The Paradoxes of Digital Photography," in The Photography Reader,245.
354 Scott Walden, "Truth in Photography," in Photography and Philosophy,110.
359 Jorg Huber, "On the Credibility of World-Pictures," in Iconoclash,522.
360沃纳·玛利亚,《摄影与摄影批评家》,第198页。
366 Jean Baudrillard, "The Violence of Images, Violence Against the Image," Art US 23 (summer 2008):42.
367 Burgin ed., Thinking Photography,11.
368波德里亚,《完美的罪行》,第7页。
369巴赞,《电影是什么》,第20-21页。
370巴赞,《电影是什么》,第13页。
371巴赞,《电影是什么》,第21页。
372麦克卢汉,《理解媒介：论人的延伸》,第50页。
373波德里亚,《完美的罪行》，第75页。
[中]沈语冰：《20世纪艺术批评》,杭州,中国美院出版社,2004年版。
[中]顾铮：《世界摄影史(修订版)》,杭州,浙江摄影出版社,2006年版。
[英]伊安·杰夫里：《摄影简史》,晓征筱果译,北京,三联书店,2002年版。
【英]E·H·贡布里希：《艺术的故事》,范景中译,北京,三联书店,1999年版。
[加]马歇尔·麦克卢汉：《理解媒介：论人的延伸》,何道宽译,北京,商务印书馆,2000年版。
[德]瓦尔特·本雅明：《迎向灵光消逝的年代：本雅明论艺术》,许绮玲林志明译,桂林,广西师范大学出版社,2004年版。——.《本雅明文选》,陈永国马海良编,北京,中国社会科学出版社,1999年版。
[德]卡尔·马克思：《资本论(第一卷)》,中共中央马克思、恩格斯、列宁、斯大林著作编译局译,北京,人民出版社,2004年版。
【美】丹尼尔·贝尔：《资本主义文化矛盾》,赵一凡等译,北京,三联书店,1989年版。
[美]马歇尔·伯曼：《一切坚固的东西都烟消云散了》,徐大建张辑译,北京,商务印书馆,2003年版。
[美]马泰·卡林内斯库：《现代性的五副面孔》,顾爱彬李瑞华译,北京,商务印书馆,2002年版。
[美]玛丽·沃纳·玛利亚：《摄影与摄影批评家：1839年至1900年间的文化史》,郝红尉倪洋译,济南,山东画报出版社,2005年版。
[美】苏珊·桑塔格：《论摄影》,黄灿然译,上海,上海译文出版社,2007年版。
[美]克莉丝汀·汤普森,大卫·波德维尔：《世界电影史》,陈旭光何一薇译,北京,北京大学出版社,2004年版。
[法】安托瓦纳·贡巴尼翁：《现代性的五个悖论》,许钧译,北京,商务印书馆,2005年版。
[法]安德烈·巴赞：《电影是什么》,崔君衍译,北京,中国电影出版社,1987年版。
[法]查理斯·波德莱尔：《波德莱尔美学论文选》,郭宏安译,北京,人民文学出版社,1987年版。
[法]于贝尔·达弥施：《落差：经受摄影的考验》,董强译,桂林,广西师范大学出版社,2007年版。
[法]让·波德里亚：《象征交换与死亡》,车槿山译,南京,译林出版社,2006年版——.《完美的罪行》,王为民译,北京,商务印书馆,2000年版。——.《消费社会》,刘成富全志刚译,南京,南京大学出版社,2000年版。
[法]让·弗朗索瓦·利奥塔尔,《后现代状态》,车槿山译,北京,三联书店,1997年版。
[法]米歇尔·福柯,《规训与惩罚》,刘北城杨远婴译,北京,三联书店,1999年版。
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2 Victor Burgin ed., Thinking Photography (London:Macmillan Press LTD,1982),11.
12【德】瓦尔特.本雅明：《迎向灵光消逝的年代：本雅明论艺术》,许绮玲林志明译,桂林,广西师范大学出版社,2004年版,第61-62页。
13本雅明,《迎向灵光消逝的年代》,第65页。
14【法】让·波德里亚：《象征交换与死亡》,车槿山译,南京,译林出版社,2006年版,第76页。
15本雅明,《迎向灵光消逝的年代》,第27页。
20详情可参考Graham Clark, Oxford History of Art:Photography, Oxford University Press,1997.
21 Liz Wells ed., Photography:A Critical Introduction,4th ed.(London and New York:Routledge,2009),11.
22[英]伊安.杰夫里：《摄影简史》,晓征筱果译,北京,三联书店,2002年版,第7-8页。
25 "technology noun" The Oxford Dictionary of English (revised edition), Catherine Soanes & Angus Stevenson ed., Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
26 Martin Heidegger, "The Question Concerning Technology," in Martin Heidegger:Philosophical and Political Writings, ed. Manfred Stassen (New York, London:Continuum,2003),281.
27 Heidegger, "The Question Concerning Technology," 293.
28 Gary Sampson, "Hisotries, Theories, Criticism," in The Concise Focal Encyclopedia of Photography,123-124.
43波德里亚：《完美的罪行》,第8-9页。
45再现的再现,详见本文第四章,此略。
46[法]于贝尔·达弥施：《落差：经受摄影的考验》,董强译,桂林,广西师范大学出版社,2007年版,第2-3页。
47一般而言从哲学上说,真理的深刻超越任何文字与图像的表现与想象。图像是居于人与世界之间的中介,
48 "simulacrum" in Oxford English Dictionary,2nd ed.1989.
49 "simulacrum" in Cultural Theory:the Key Concepts,2nd ed. eds. Andrew Edgar & Peter Sedgwick (London and New York:Routledge,2008),312.
50实际上这种真实更近似于一种真理truth,而不是现实reality。
51 "philosophy noun" in The Oxford Dictionary of English (revised edition), Catherine Soanes & Angus Stevenson eds., Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
52 Patrizia di Bello "realism" The Oxford Companion to the Photograph. Ed. Robin Lenman. Oxford University Press 2005. Oxford Reference Online. Oxford University Press.
53[法]居易.德波：《景观社会》,王昭凤译,南京,南京大学出版社,2006年版,第3页。
54 Thomas Lawson, "Generation in Vitro," ArtForum 23 (September 1984),99.
55 Jean Baudrillard, The Gulf War Did Not Take Place (Bloomington:Indiana University Press,1991).
61详见德勒兹,《拟像与古代哲学》一文。
62 Christopher Norris, What's Wrong with Postmodernism:Critical Theory and the Ends of Philosophy (Baltimore: The Johns Hopkins University Press,1990),182.
63 Douglas Kellner ed. Baudrillard:A Critical Reader (Oxford:Blackwell,1994),13.
64 See:Jean Baudrillard, "The Precession of Simulacra", in Simulacra and Simulation (The University of Michigan Press,1994).
65参：詹明信,《后现代主义和消费社会》一文。
66 Martin Lister, Jon Dovey, Seth Giddings, Iain Grant & Kieran Kelly, New Media:A Critical Introduction (London, New York:Routledge,2009),44.
67[德]瓦尔特·本雅明：《迎向灵光消逝的年代：本雅明论艺术》,许绮玲林志明译,桂林,广西师范大学出版社,2004年版,第26页。
68[法]让·波德里亚：《象征交换与死亡》,车槿山译,南京,译林出版社,2006年版,第78页。
69本雅明,《迎向灵光消逝的年》,第52页。
70[德]瓦尔特.本雅明：《本雅明文选》,陈永国马海良编,北京,中国社会科学出版社,1999年版,第292页。
71在文中,本雅明引用了凡·布勒塔诺的看法。参见《迎向灵光消逝的年代：本雅明论艺术》,第21页。
72本雅明,《迎向灵光消逝的年代》,第21页。
73参见：本雅明,《迎向灵光消逝的年代》,第17-21页。
74本雅明,《迎向灵光消逝的年代》,第32-33页。
75参见《迎向灵光消逝的年代》。
76波德里亚：《完美的罪行》,第113页。
77 David Hockney, "Camera Lucida," in Images:A Reader, eds. Sunil Manghani, Arthur Piper & Jon Simons (London:SAGE Publications,2006),233.
78 Ashley la Grange, Basic Critical Theory for Photographers (Focal Press,2005),30.
79 Tiphaigne De La Roche, "Photography Predicted," in Photography:Essays & Images, ed. Beaumont Newhall (The Museum of Modern Art,1980),13-14.
80沃纳·玛利亚,《摄影与摄影批评家》,第4页。
81波德里亚,《完美的罪行》,第113页。
82本雅明,《迎向灵光消逝的年代》,第17-18页。
83 Peter Galison, "Images Scatter Into Data, Data Gather Into Images," in Iconoclash, eds. Bruno Latour & Peter Weibel (Cambridge, Massachusetts:MIT Press,2002),300.
84 Louis Daguerre, "Daguerreotype," in Classic Essays on Photography, ed. Alan Transtenberg (New Heaven, Coon:Leet's Island Books,1980),13.
85 William Henry Fox Talbot, "Some Account of the Art of Photogenic Drawing, or, The Process by Which Natural Objects May Be Made to Delineate Themselves without the Aid of the Artist's Pencil," in Photography: Essays & Images, ed. Beaumont Newhall(The Museum of Modern Art,1980),23.
86本雅明,《迎向灵光消逝的年代》,第32-33页。
87 "aura noun" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
88本雅明,《迎向灵光消逝的年代》,第63页。
89本雅明,《迎向灵光消逝的年代》,第26页。
90本雅明,《迎向灵光消逝的年代》,第26页。
91本雅明,《迎向灵光消逝的年代》,第32页。
92 Allan Sekula, "On the Invention of Photographic Meaning," in Thinking Photography,94.
93本雅明,《迎向灵光消逝的年代》,第63页。
94本雅明,《迎向灵光消逝的年代》,第62页。
95本雅明,《迎向灵光消逝的年代》,第65页。
96本雅明,《迎向灵光消逝的年代》,第32页。
97波德里亚,《象征交换死亡》,第76页。
98沈语冰：《20世纪艺术批评》,杭州,中国美术学院出版社,2003年版,第118页。
99参见前文的奇迹之镜及相关探讨,此处略。
100本雅明,《本雅明文选》,第60页。
101桑塔格,《论摄影》,第16页。
102 Jean Baudrillard, "How Can You Jump Over Your Shadow When You No Longer Have One?" in The Illusion of the End (Stanford, California:Stanford University Press,1994),101.
103 "fetish noun" The Oxford Dictionary of English (revised edition). ed. Catherine Soanes & Angus Stevenso Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
104本雅明,《迎向灵光消逝的年代》,第74页。
105 Victor Burgin, "Photographic Practice and Art Theory," in Thinking Photography,40.
106沃纳.玛利亚：《摄影与摄影批评家》,第195页。
107 Paul Virilio, The Vision Machine (Bloomington and Indianapolis:The Indiana University Press,1994),21.
111"reproduction" in Oxford English Dictionary, DRAFT REVISION Dec.2009
112 "reproducibility" in Oxford English Dictionary, DRAFT REVISION Dec.2009
113 "copy" in Oxford English Dictionary, SECOND EDITION 1989.
114本雅明,《迎向灵光消逝的年代术》,第58页。
115同上。
116本雅明,《迎向灵光消逝的年代》,第64页。
117沃纳.玛利亚,《摄影与摄影批评家》,第16页。
118 Jean Baudrillard, " Fatal Strategy,'in Jean Baudrillard:Selected Writings, ed. Mark Poster (Stanford, California:Stanford University Press,1988),188.
119 "original" in Oxford English Dictionary, DRAFT REVISION Dec.2009.
120巴特,《明室》,第121页。
121[匈]安德烈.巴赞：《电影是什么》,崔君衍译,北京,中国电影出版社,1987年版。
122桑塔格,《论摄影》,第15页。
123桑塔格,《论摄影》,第16页。
127 http://www.photoquotes.com/showquotes.aspx?id=38&name=Ray,Man
128 "photographic" in Oxford English Dictionary, DRAFT REVISION Mar.2009.
129 Tagg, The Burdern of Representaion,64.
140 Grundberg, Crisis of the Real,14.
141[法]安托瓦纳.贡巴尼翁：《现代性的五个悖论》,许钧译,北京,商务印书馆,2005年版,第41页。
142 Quentin Bajac & Christian Caujolle, The Abrams Encyclopedia of Photography (New York:Harry N. Abrams. 2004),64.
144 Jean-Luc Daval, Photography:History of Art (New York:Rizzoli International Publications, Inc.,1982),134.
145 Ansel Adams, "What is Good Photography," in Photographers on Photography, ed. Nathan Lyons (New York: George Eastman House,1966),23-24.
146 Edward Weston, "Seeing Photographically,"in The Photography Reader,106.
147 Laszlo Moholy-Nagy, "Photography," in Classic Essays on Photography,166.
148 Edward Weston, "Seeing Photographically," in The Photography Reader,106.
149 Laszlo Moholy-Nagy, "Unprecedented Photography," in Photography in the Modern Era:European Documents and Critical Writings,1913-1940, ed. Christopher Philips (New York:Aperture,1989),85.
150 Ibid.,85.
151 Eleanor Hight ed. Picturing Modernism:Moholy Nagy and Photography in Weimar Germany (Cambridge, MA: MIT Press,1995),3.
152 Weston, "Seeing Photographically," in The Photographic Reader,107.
153 Ibid.,108.
154 Edward Weston Omnibus:a Critical Anthology, ed. Newhall and Conger (Salt Lake City:Peregrine Smith Books,1984),48.
155 Ansel Adams, Making a Photograph (New York:Studio Publications,1935).60.
156 Adams, "What is Good Photography," 24.
157桑塔格,《论摄影》,第91页。
158 Wells ed. The Photoeraphv Reader,71
159 Tagg, The Burden of Representation,4.
160 Constance B. Schulz, "documentary photography" in The Oxford Companion to the Photograph, Robin Lenman ed., Oxford University Press 2005, Oxford Reference Online, Oxford University Press.
161 Wells ed. The Photography Reader,253.
162本雅明,《迎向灵光消逝的年代》,第42页。
166 Henri Cartier-Bresson, URL (consulted Nov.2009): http://www.washingtonpost.com/wp-dyn/articles/A39981-2004Aug4.html/
167 Henri Cartier-Bresson, The Mind's Eye:Writings on Photography and Photographers (New York:Aperture, 2005),42-43.
168 Kevin Moore, "decisive moment," in The Oxford Companion to the Photograph, ed. Robin Lenman (Oxford: Oxford University Press,2005).
169 John Szarkowski, "Introduction to the Photographer's Eye," in The Photography Reader,99.
170 Ibid.,100.
179 http://www.photoquotes.com/showquotes.aspx?id=113&name=Stieglitz,Alfred
180贡巴尼翁,《现代性的五个悖论》,第45页。
181 Paul Strand, "Letter to the Editor," Photographic Journal 103 (no.7,1963),216.
182达弥施,《落差》,第16页。
183 Patrizia di Bello "modernism and photography" The Oxford Companion to the Photograph. Ed. Robin Lenman. Oxford University Press 2005. Oxford Reference Online. Oxford University Press.
184波德里亚,《象征交换死亡》,第105页。
185 Rosalind Krauss, "A Note on Photography and the Simulacral," October 31 (Winter 1984),63
186 Wells ed. The Photography Reader,149.
187详细见前文“后现代主义拟像论”章节,此处略。
188 Virilio,The Vision Machine,22.
189利奥塔尔,《后现代状态》,第3页。
190德波,《景观社会》,第3页。
191本雅明,《迎向灵光消逝的年代》,第61-62页。
192德波,《景观社会》,第3页。
193波德里亚,《象征交换与死亡》,第76页。
194波德里亚,《象征交换与死亡》,第107页。
195 Paul Virilio, The Vision Machine, p.22
196桑塔格,《论摄影》,第178页。
197 Michael Camille, "Simulacrum" in Critical Terms for Art History,2nd, Robert S. Nelson & Richard Shiff eds., The University of Chicago Press,2003,p 43.
198 "simulation" in Oxford English Dictionary,2nd ed,1989.
199本雅明,《迎向灵光消逝的年代》,第89页。
200 Jean Baudrillard, "The Hell of the Same" in The Transparency of Evil, Verso,1993, p.118
201波德里亚：《象征交换与死亡》,第105页。
202贡巴尼翁,《现代性的五个悖论》,第114页。
203 Jean Baudrillard, "The Ecstasy of Photography," in Jean Baudrillard:Art and Artefact, Nicolas Zurbragg e
(London:Sage Publications,1997),33. 204 Douglas Crimp, "The Photographic Activity of Postmodernism," October 15, (winter 1980):91-101.
205 Douglas Crimp, The Photographic Activity of Postmodernism, October, New York, nr.15, Winter 1980.
207桑塔格,《论摄影》,第112页。
206 Andy Warhol, The Philosophy of Andy Warhol (San Diego, New York & London:A Harvest Book, 1975),77.
208[美]乔治.瑞泽尔：《后现代社会理论》,谢立中等译,北京,华夏出版社,2003年版,第8页。
209 "postmodernism" The Oxford Dictionary of Literary Terms. Chris Baldick. Oxford University Press,2008. Oxford Reference Online. Oxford University Press.
210顾铮,《世界摄影史》,第121页。
211 "postmodernism" The Oxford Dictionary of Literary Terms. Chris Baldick. Oxford University Press,2008. Oxford Reference Online. Oxford University Press.
212 Jean Baudrillard, "Objects, Images, and the Possibilities of Aesthetic Illusion," in Jean Baudrillard:Art and Artefact, ed. Nicholas Zurbrugg (London:SAGE Publications,1997),16.
213 Saul Ostrow, "Major Themes and Photographers of the 20th Century," in The Focal Encyclopedia of Photography,185.
214 Cindy Sherman, except from an interview with Wilfried Dickhoff, in Prospect:Photography in Contemporary Art, ed. Peter Weiermair (Zurich, Switzerland:Edition Stemmle,1996),280.
215 Chalotte Cotton, The Photograph as Contemporary Art (London:Thames & Hudson Ltd,2004).
216 http://www.photoquotes.com/showquotes.aspx?id=286&name=Sander,Augus
217 Krauss, "A Note on Photography and the Simulacral," October 31.
220 "appropriation" A Dictionary of Modern and Contemporary Art by Ian Chilvers and John Glaves-Smith. Oxford University Press Inc. Oxford Reference Online. Oxford University Press.
221波德里亚,《象征交换与死亡》,第107页。
222注：本图已经在导论一章出现过,故采用最初的标号,即图7.。
223详见其官方网站http://www.afterwalkerevans.com/
224 http://www.aftersherrielevine.com/statementl.html
225 Richard Prince, Why I go to the Movies Alone (New York:Tantam Press,1983),63.
226 http://www.sugimotohiroshi.com/diorama.html
236桑塔格,《论摄影》,第3页。
237 Baudelaire,"The Modern Public and Photography",88.
238 http://en.wikipedia.org/wiki/Douglas Huebler
239 Douglas Huebler, quoted in A Companion to Contemporary Art since 1945, ed. Amelia Jones (Oxford: Blackwell,2006).
240 "gaze verb" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
241 "inspect verb" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
242 Paul Strand, "The Art Motive in Photography," in British Journal of Photography, (1923),613.
243本雅明,《迎向灵光消逝的年代》,第32页。
244本雅明,《迎向灵光消逝的年代》,第67页。
245 Burgin, Thinking Photography,9.
249 Warhol, The Philosophy of Andy Warhol,68.
250 Jurgen Habermas, "The Public Sphere," in The Information Society Reader, ed. Frank Webster (London and New York:Routledge,2004),350.
251真实、现实,英义中统称为reality。而中文含义中,“真实”还有类似于truth(即真理)的意味。
252 Jean Baudrillard, "The Violence of Images. Violence Against the Image, "Art US 23,no.6 (2008),38.
253[法]米歇尔·福柯,《规训与惩罚》,刘北城杨远婴译,北京,三联书店,1999年版,第227页。
254同上。
255 "implosion" in Oxford English Dictionary, SECOND EDITION,1989.
256 Jean Baudrillard,"The Mass; the Implosion of the Social in the Media" in Jean Baudrillard:Selected Writings, Mark Poster ed, Stanford University Press,1998, p.213-214
258本雅明,《本雅明文选》第291-292页。
259本雅明,《迎向灵光消逝的年代》,第94页。
260 http://www.photoquotes.com/showquotes.aspx?id=99&name=Riboud,Marc
261[法]让·波德里亚：《消费社会》,刘成富全志刚译,南京,南京大学出版社,2000年版,第12-13页。
262 Jean Baudrillard, "The Violence of Images, Violence Against the Image,"Art US 23, no.6 (2008),39.
264 Andy Warhol, The Philosophy of Andy Warhol (London:A Harvest Book,1975),77.
263 Ibid.,38.
270 Karl Marx, "The Fetishism of the Commodity," in The Visual Culture Reader,123.
271贡巴尼翁,《现代性的五个悖论》,第116-117页。
272 Jean-Francios Lyotard, The Postmodern Condition (Manchester:Manchester University Press,1984),76.
273 Kristine Stiles & Peter Selz eds. Theories and Documents of Writings (California:University of California Press,1996),295.
274 Jeff Koons in Theories and Documents of Contemporary Art:a Sourcebook of A rtists'Writings,381.
275 Clement Greenberg, "Avant-garde and Kitsch," in Art Theory and Criticism:An Anthology of Formalist Avant-Garde, Contextualist and Post-Modernist Thought, ed Sally Evere (North Carolina:McFarland & Company, 1991),32.
276 Jeff Koons in Theories and Documents of Contemporary Art,381.
277 Ibid.,383.
278贡巴尼翁,《现代性的五个悖论》,第115页。
279 Barbara Kruger in Theories and Documents of Contemporary Art,378.
280参见：本雅明,《迎向灵光消逝的年代》,第19页,第21页。
281参见：巴特,《明室》,第148页。
282波德里亚,《象征交换死亡》,第107页。
283波德里亚,《完美的罪行》,第72页。
284德波,《景观社会》,第3页。
285卡林内斯库,《现代性的五副面孔》,第280页。
286巴特,《明室》,第8-9页。
287 David Hopkins, After Modern Art:1945-2000 (Oxford:Oxford University Press,2000).
288波德里亚,《象征交换死亡》,第105页。
289本文前面的相关段落已经解释过了,真实、现实,英文中统称为reality。而中文含义中“真实”还有类似于truth(即真理)的意味。
290 Batchen, Burning With Desire,213.
291本雅明,《迎向灵光消逝的年代》,第60页。
292 Melissa M. Littlefield & Pauline Kusiak "representation and technology," in Science, Technology, and Society, ed. Sal Restivo (Oxford:Oxford University Press,2005).
293 Baudrillard, Simulacra and Simulation,6.
294 Sarah Kember, "The Shadow of the Object:Photography and Realism," in The Photography Reader,202.
295参见《后现代状态》,第80-86页。
305 Paul Virilio, The Vision Machine (Bloomington and Indianapolis:Indiana University Press,1994),73.
306 David Croteau & William Hoynes, Media Society,3rd ed.(London:Sage Publications,2003),313.
307 Jay David & Richard Grusin, Remediation:Understanding New Media,112.
308 "postphotographic" in The Focal Encyclopedia of Photography (4th edition), Michael R. Peres ed., Focal Press, 2007, p.xxxii
309 Batchen, Each Wild Idea,127.
310 William J. Mitchell, The Reconfigured Eye:Visual Truth in the Post-Photographic Era (MA, Cambridge:MIT Press,1992);19.
311 Batchen, Each Wild Idea,143.
312 Lev Manovich, "The Paradoxes of Digital Photography" in The Photography Reader,241.
313 "virtual adjective" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press,2005. Oxford Reference Online. Oxford University Press.
314 Lev Manovich, The Language of New Media, The MIT Press,2001.
315 "virtuality" in Oxford English Dictionary, SECOND EDITION 1989.
316波德里亚,《完美的罪行》,第8页。
317 "Virtual Reality" in Oxford English Dictionary, ADDITIONS SERIES 1997.
318 Lister et al. New Media:a Critical Introduction,44.
319《明室》是巴特最后的作品。
320巴特,《明室》,第6页。
321 Rosalind Krauss, "A Note on Photography and the Simulacral," Convergence 5 (no.2,1999),58-59.
322 Bill Nichols, "The Work of Culture in the Age of Cybernetic Systems," in The New Media Reader,631.
323 Tagg, The Burden of Representation,65.
328 Sven Lutticken, "The footprint and the Readymade," Afterimage 29 (no.1,2001).
329 Bill Nichols, "The Work of Culture in the Age of Cybernetic Systems,"in The New Media Reader, Noah Wardrip-Fruin & Nick Montfort eds.(Cambridge, MA:MIT Press,2003),631.
330 Martin Lister et al., New Media:A Critical Introduction (London and New York:Routledge,2009).
331桑塔格,《论摄影》,第153页。
332桑塔格,《论摄影》,第3页。
333 Jay David & Richard Grusin, Remediation:Understanding New Media,112
334 http://www.nytimes.com/2007/05/13/arts/design/13camh.html
335 Lev Manovich, The Language of New Media (Cambridge, MA:MIT Press,2001).
336如Jeff Wall, Cindy Sherman, Joel-Peter Witkin, Gregory Crewdson.等人都是运用舞台布景式的表现手法最为典型的代表。
339桑塔格,《论摄影》,第17页。
340 Lev Manovich, "The Paradoxes of Digital Photography," in The Photography Reader,242.
341 Batchen, Burning with Desire,215.
342 Lev Manovich, "Image Future," URL (consulted Feb.2010):http://www.manovich.net/
343波德里亚,《完美的罪行》,第37页。
344 Batchen, Each Wild Idea, 141.
345 Jorge Ribalta, "Molecular Documents:Photography in the Post-Photographic Era, or How Not to be Trapped into False Dilemmas," in The Meaning of Photography, eds. Robin Kelsey & Blake Stimson (Clark Art Institute, 2008),180.
346 Barbara Savedoff, "Documentary Authority," in Photography and Philosophy, ed. Scott Walden (Blackwell Publishing,2008),136.
347 Walter Benjamin, "Imperial Panorama," in The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media,75.
348 Lev Manovich, "Database as Symbolic Form," Convergence 5, no.2 (1999):80-99.
349 "database" in Oxford English Dictionary,2nd ed,1989.
350 Hans Ulrich Gumbrecht, Production of Presence:What Meaning Cannnot Convey (Stanford, California: Stanford University Press,2004), xv.
351 http://www.photoquotes.com/showquotes.aspx?id=93 & name=Eisenstaedt,Alfred
352巴特,《明室》,第136-137页。
353 Lev Manovich, "The Paradoxes of Digital Photography," in The Photography Reader,245.
354 Scott Walden, "Truth in Photography," in Photography and Philosophy,110.
359 Jorg Huber, "On the Credibility of World-Pictures," in Iconoclash,522.
360沃纳·玛利亚,《摄影与摄影批评家》,第198页。
366 Jean Baudrillard, "The Violence of Images, Violence Against the Image," Art US 23 (summer 2008):42.
367 Burgin ed., Thinking Photography,11.
368波德里亚,《完美的罪行》,第7页。
369巴赞,《电影是什么》,第20-21页。
370巴赞,《电影是什么》,第13页。
371巴赞,《电影是什么》,第21页。
372麦克卢汉,《理解媒介：论人的延伸》,第50页。
373波德里亚,《完美的罪行》，第75页。
[中]沈语冰：《20世纪艺术批评》,杭州,中国美院出版社,2004年版。
[中]顾铮：《世界摄影史(修订版)》,杭州,浙江摄影出版社,2006年版。
[英]伊安·杰夫里：《摄影简史》,晓征筱果译,北京,三联书店,2002年版。
【英]E·H·贡布里希：《艺术的故事》,范景中译,北京,三联书店,1999年版。
[加]马歇尔·麦克卢汉：《理解媒介：论人的延伸》,何道宽译,北京,商务印书馆,2000年版。
[德]瓦尔特·本雅明：《迎向灵光消逝的年代：本雅明论艺术》,许绮玲林志明译,桂林,广西师范大学出版社,2004年版。——.《本雅明文选》,陈永国马海良编,北京,中国社会科学出版社,1999年版。
[德]卡尔·马克思：《资本论(第一卷)》,中共中央马克思、恩格斯、列宁、斯大林著作编译局译,北京,人民出版社,2004年版。
【美】丹尼尔·贝尔：《资本主义文化矛盾》,赵一凡等译,北京,三联书店,1989年版。
[美]马歇尔·伯曼：《一切坚固的东西都烟消云散了》,徐大建张辑译,北京,商务印书馆,2003年版。
[美]马泰·卡林内斯库：《现代性的五副面孔》,顾爱彬李瑞华译,北京,商务印书馆,2002年版。
[美]玛丽·沃纳·玛利亚：《摄影与摄影批评家：1839年至1900年间的文化史》,郝红尉倪洋译,济南,山东画报出版社,2005年版。
[美】苏珊·桑塔格：《论摄影》,黄灿然译,上海,上海译文出版社,2007年版。
[美]克莉丝汀·汤普森,大卫·波德维尔：《世界电影史》,陈旭光何一薇译,北京,北京大学出版社,2004年版。
[法】安托瓦纳·贡巴尼翁：《现代性的五个悖论》,许钧译,北京,商务印书馆,2005年版。
[法]安德烈·巴赞：《电影是什么》,崔君衍译,北京,中国电影出版社,1987年版。
[法]查理斯·波德莱尔：《波德莱尔美学论文选》,郭宏安译,北京,人民文学出版社,1987年版。
[法]于贝尔·达弥施：《落差：经受摄影的考验》,董强译,桂林,广西师范大学出版社,2007年版。
[法]让·波德里亚：《象征交换与死亡》,车槿山译,南京,译林出版社,2006年版——.《完美的罪行》,王为民译,北京,商务印书馆,2000年版。——.《消费社会》,刘成富全志刚译,南京,南京大学出版社,2000年版。
[法]让·弗朗索瓦·利奥塔尔,《后现代状态》,车槿山译,北京,三联书店,1997年版。
[法]米歇尔·福柯,《规训与惩罚》,刘北城杨远婴译,北京,三联书店,1999年版。
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