论观念摄影的符号学特征
摘要
今天,随着数字技术的普及和人文思想的进一步发展,观念摄影有了前所未有的发展契机,作为观念艺术的一种重要形式,表现出了独特的艺术魅力。但是,观念摄影作为一种新的摄影形式,从创作到解读都与传统摄影有着很大的差别,人们对它的认识程度相对较浅,多数还处于实验探索阶段,所以今天的观念摄影,必然要存在着很多问题。对此,如果我们依然用传统摄影理论去对待观念摄影,显然是不合适的,我们需要寻找一套更适合于它的理论方法。鉴于此,本文尝试着把符号学基本原理引入到观念摄影中,借以发现观念摄影中符号学的基本特征,用符号学的基本方法去解决观念摄影创作中存在的普遍性问题,同时也给观念摄影的解读提出一些指导性建议。笔者在研究过程中,体会到了符号学对观念摄影具有的重要理论价值和使用价值,其方法具有很强的适用性。
Along with the popularization of the digital technique and the development of the humanistic ideas, Conceptual Photography has met an unprecedented opportunity, as one of the Conceptual Art, shown unique artistic charm. But as a new artistic form, Conceptual Photography makes a great deal of difference to Traditional Photography, people know it less relatively and most people still stay experimental stage, so Conceptual Photography faces many problems at present. To these problems, it has not been suitable if we still use Traditional Photography theory, we need to find a new set of theoretical approaches. Given this, this paper attempts to put the basic principles of Semiotics into the Conceptual Photography and find out basic Semiotics features of Conceptual Photography to solve the main problems in Conceptual Photography and in the meantime, gives people some proposed guidance for the interpretation. Through the study in this paper, we can see Semiotics plays important guiding role in Conceptual Photography and has a strong realistic meaning and important useful value.
Along with the popularization of the digital technique and the development of the humanistic ideas, Conceptual Photography has met an unprecedented opportunity, as one of the Conceptual Art, shown unique artistic charm. But as a new artistic form, Conceptual Photography makes a great deal of difference to Traditional Photography, people know it less relatively and most people still stay experimental stage, so Conceptual Photography faces many problems at present. To these problems, it has not been suitable if we still use Traditional Photography theory, we need to find a new set of theoretical approaches. Given this, this paper attempts to put the basic principles of Semiotics into the Conceptual Photography and find out basic Semiotics features of Conceptual Photography to solve the main problems in Conceptual Photography and in the meantime, gives people some proposed guidance for the interpretation. Through the study in this paper, we can see Semiotics plays important guiding role in Conceptual Photography and has a strong realistic meaning and important useful value.
引文
1 参见《美国ICP摄影百科全书》,王景堂等译,中国摄影出版社 1995年12月第二版,第124页。
2 彼得·埃默森(Peter Henry Emerson,1856—1936),英国人,自然主义摄影代表人,1889年著有《自然主义摄影》,代表作《收获》。
3 杰利·尤斯曼(Jerry Uelsmann)美国当代著名摄影艺术大师,被称为“影像的魔术师”和“黑白的冶金者”。
4 拉菲尔·纳瓦罗,西班牙摄影师,以展现裸体和抽象作品见长,作品被收录在西欧各大美术馆和艺术机构。
6 定义源自于美国符号学创始人波尔士(1839—1914),参见陈宏薇.汉英翻译基础[M].上海:上海外语教育出版社 1998.58-59
1、王景堂等译.美国ICP摄影百科全书[M].北京:中国摄影出版社.1995.
2、林路.摄影思想史[M].杭州:浙江摄影出版社.2008.
3、陈宏薇.汉英翻译基础[M].上海:上海外语教育出版社.1998.
4、罗兰·巴特.显义与晦义[M].天津:百花文艺出版社.2005.
5、罗兰·巴特.符号学原理[M].北京:中国人民大学出版社.2008.
6、费尔迪南·德·索绪尔.普通语言学教程[M].北京:商务印书馆.1980.
7、马晓翔.新媒体艺术透视[M].南京:南京大学出版社.2008.
8、乔治·莱考夫.乔治·莱考夫认知语言学十讲[M].北京:外研社.2007.
9、金岳霖.形式逻辑[M].北京:人民出版社.1979.
10、束定芳.隐喻学研究[M].上海:上海外语教育出版社.2001.
11、雅克布森.隐喻和换喻的两极[M].北京:北京大学出版社.1998.
12、罗森塔尔著,马兵等译.辩证逻辑原理[M].北京:三联书店.1962.
13、鲁道夫·阿恩海姆.视觉原理[M].成都:四川人民出版社.1998.
14、特伦斯·霍克斯.结构主义与符号学[M].上海:上海译文出版社.1987.
15、罗兰·巴特.文之悦[M].上海:上海人民出版社.2004.
2 彼得·埃默森(Peter Henry Emerson,1856—1936),英国人,自然主义摄影代表人,1889年著有《自然主义摄影》,代表作《收获》。
3 杰利·尤斯曼(Jerry Uelsmann)美国当代著名摄影艺术大师,被称为“影像的魔术师”和“黑白的冶金者”。
4 拉菲尔·纳瓦罗,西班牙摄影师,以展现裸体和抽象作品见长,作品被收录在西欧各大美术馆和艺术机构。
6 定义源自于美国符号学创始人波尔士(1839—1914),参见陈宏薇.汉英翻译基础[M].上海:上海外语教育出版社 1998.58-59
1、王景堂等译.美国ICP摄影百科全书[M].北京:中国摄影出版社.1995.
2、林路.摄影思想史[M].杭州:浙江摄影出版社.2008.
3、陈宏薇.汉英翻译基础[M].上海:上海外语教育出版社.1998.
4、罗兰·巴特.显义与晦义[M].天津:百花文艺出版社.2005.
5、罗兰·巴特.符号学原理[M].北京:中国人民大学出版社.2008.
6、费尔迪南·德·索绪尔.普通语言学教程[M].北京:商务印书馆.1980.
7、马晓翔.新媒体艺术透视[M].南京:南京大学出版社.2008.
8、乔治·莱考夫.乔治·莱考夫认知语言学十讲[M].北京:外研社.2007.
9、金岳霖.形式逻辑[M].北京:人民出版社.1979.
10、束定芳.隐喻学研究[M].上海:上海外语教育出版社.2001.
11、雅克布森.隐喻和换喻的两极[M].北京:北京大学出版社.1998.
12、罗森塔尔著,马兵等译.辩证逻辑原理[M].北京:三联书店.1962.
13、鲁道夫·阿恩海姆.视觉原理[M].成都:四川人民出版社.1998.
14、特伦斯·霍克斯.结构主义与符号学[M].上海:上海译文出版社.1987.
15、罗兰·巴特.文之悦[M].上海:上海人民出版社.2004.