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中国摄影的不断沉沦已成事实。这表现为两方面的焦虑,一方面的焦虑来自观众和市场,大部分的中国摄影师在拍摄过程中,支配他的力量恐怕已非他的摄影信念和创作激情,而是另外一些东西:身后有无数观众在场,摄影师总想着怎样才能脱颖而出,现在又有了市场,还得忙于取悦市场,为了解决问题、消除焦急,不仅在手法上写实,更要在世界观上“写实”——摄影所提供的世界图景、它对世界的看法要和我们想象中的多数人(观众、市场)一致起来,必须合于他们的经验尺度,让大家觉得世界正如所料;另一方面,在处理现实这样的复杂经验时,中国摄影师受文化底蕴、生活阅历、财力条件之限,视野、技术均力不从心。这两个焦虑,就带来一系列问题。
The constant sinking of Chinese photography has become a reality. This is manifested in two aspects of anxiety. On the one hand, the anxiety comes from the audience and the market. Most Chinese photographers are probably not the masters of his photographic beliefs and creative passion in filming. They are something else: behind There are innumerable audiences. Photographers always think how they can stand out. Now they have markets. They have to be busy with the market. In order to solve problems and eliminate anxiety, they must not only be realistic but also “realistic” in the world outlook. The view of the world provided by it must be consistent with the majority of the people we imagine (the audience and the market) and must be aligned with their empirical standards so that the world can feel as if they were expected. On the other hand, Such a complex experience, the Chinese photographer by the cultural heritage, life experience, financial conditions, vision, technology are unable to do anything. These two anxieties bring about a series of problems.