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1940年代上半期,作家张爱玲便依恃天启般的感触,用“安稳”、“苍凉”的健笔,完成了中文语境下摄影现代性特征的书写。这是目前中国摄影认知过程中被忽视的、分量甚重的一笔遗产。1993年,在洛杉矶避世隐居二十年之久的张爱玲“在老照相簿里钻研太久,出来透口气,跟大家看同一头条新闻,有‘天涯共此时’的即刻感。”或许预感来日不多,这看新闻,或是隐含着的与照片上逝去亲人对视而恍惚生出的共时感,于她却也生出了异样的感觉,“手持报纸倒像绑匪寄给肉票家人的照
In the first half of the 1940s, the writer Ailing relied on apocalyptic feelings and completed the writing of the characteristics of modernity of photography under the Chinese context with the help of ”Safe“ and ”Desolation.“ This is a neglected and heavily valued legacy in China’s photographic cognition. In 1993, Zhang Ailing, who had been living a seclusion in Los Angeles for two decades, ”studied for too long in the old photo album and came out with the same news with the same news that there was a time when the End of the World is altogether.“ Perhaps Premonition did not come much lately, and this news or implicit sense of time shared with the trance of relatives who passed away on the photo, but she also gave a strange feeling. ”Hand-held newspapers are likened to banditry Photo of the family members of the farewell