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尤金·阿杰(Eugene Atget,1857-1927)毫无疑问是对当代摄影影响最大的摄影家之一,也是中国摄影界谈论得最多的西方摄影家之一。但是20世纪初,他在巴黎拍摄的纪实摄影文献为研究对象,展开如何从观看的视角表明立场、怎样从问题意识走向视觉空间构建、什么是链接真实与现实之间复杂关系的纪实摄影等问题,在国内却鲜有深入的探讨。本文试着以“观看即是观点”的线索搭建起历史文献与当代图像共通的视觉经验,梳理虽在不同历史背景、社会语境下却可以传承演变的观看系统。
Eugene Atget (1857-1927) is undoubtedly one of the most influential photographers in contemporary photography and one of the most talked-about Western photographers in the Chinese photography world. However, at the beginning of the 20th century, his documentary photography documentary in Paris was the object of his study. He started from the perspective of viewing to show his position, how to move from problem awareness to visual space construction, and what is the issue of documentary photography that links the complex relationship between reality and reality , But rarely in-depth discussion. This essay attempts to establish a visual experience common to historical documents and contemporary images with the clue of “viewing is perspective.” This article reviews the viewing system that can evolve under different historical contexts and social contexts.