艺术之后的摄影:从本雅明到波德里亚

发布时间：2018-03-04 17:28

  本文选题：影像理论　切入点：前卫艺术　出处：《同济大学学报(社会科学版)》2012年06期 　论文类型：期刊论文

【摘要】：作为一种视觉现代性的标志,摄影的出现从根本上颠覆了人们既有的艺术观念。本文以本雅明、巴特和波德里亚三位理论家的影像理论为研究对象,对其有关艺术和摄影关系问题的论述进行考察。本雅明把前卫视为摄影最重要的品质,将摄影理解为一种前卫艺术。巴特把疯狂视为摄影最重要的品质,将摄影理解为一种超艺术。波德里亚把沉默视为摄影最重要的品质,将摄影理解为一种反艺术。他们的影像理论,一方面挑战了既有的艺术观念和摄影观念,另一方面也折射了一个多世纪以来艺术和摄影自身所发生的巨大变化。
[Abstract]:As a symbol of visual modernity, the emergence of photography has fundamentally subverted the existing artistic concepts. This paper focuses on the image theory of three theorists, Benjamin, Bart and Baudrillard. Benjamin regards avantgarde as the most important quality of photography and photography as an avant-garde art. Bart regards craziness as the most important quality of photography. Baudrillard regards silence as the most important quality of photography, and photography as an anti-art. Their image theory, on the one hand, challenges existing artistic and photographic concepts. On the other hand, it also reflects the great changes that have taken place in art and photography itself for more than a century.
【作者单位】： 同济大学文化批评研究所;
【分类号】：J40-02
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本文编号：1566619