中国新闻摄影评论研究－－对历史、现状、趋势的思考.pdfVIP

摘 要 1949年至今的中国摄影经历了一个摄影创作从没有分类到有分类的转变， 同时也经历了摄影评论从无到有的过程。现在，摄影作品已经呈现出多元融合 的特点，分类开始变得并不明显，取而代之的是“视觉艺术”这一更宽泛的视 角。与此相适应的是，摄影评论家必须懂得文学和艺术史——这构成了整个视 觉文化的脉络，即便是工具性比较明显的新闻摄影也不能例外。 在50多年的中国新闻摄影乃至全部摄影评论写作中，不难发现所受西方美 学、符号学、心理学种种理论影响的痕迹，但是，亦有多数新闻摄影评论写作 是在并不坚实的理论基础上偷用各种概念，而且缺乏严谨的论证和有价值的判 断。在“清算”与“包容”、“学术的”与“望文生意的”、“判断” 与“抒情” 之间，摄影评论写作必须做出自己的选择。 西方发达的文学和艺术批评体系和诸多批评理论著作可以为新闻摄影评论 的写作提供一个十分有参考价值的写作范式，文艺批评中的诸多概念和思潮也 是新闻摄影评论所无法视而不见、避而不谈的。未来的中国新闻摄影评论从业 者应该在一个视觉艺术史的基础上写作新闻摄影评论。即使是在对新闻学的认 识已经有了长足进步的今天，在新闻学的基础上谈新闻摄影也被历史实践证明 是远远不够的，因此，只有建立在更广博的基础上，才能更好地写作新闻摄影 评论乃至摄影评论。 关键词：评论；摄影；新闻摄影 4 Abstract From 1949 till now, photography in China has experienced a transition from a unclassified period to a specifically classified period, accompanied by a step by step progress of photography criticism. Recently in China, photography has become a member of multiple-media artworks. The classification of photography becomes more ambiguous again. Meanwhile, in some Chinese criticism, the word photography has been replaced by another concept from a wider perspective: visual art. Accordingly, critics must be well-read of the history of fine art and literacy, which are the fundamentals factors in visual culture. In all the Chinese photography criticisms in the latest fifty years, it is not very difficult to find the trace of western impacts, such as Aesthetics, Psychology, Structuralism and Semiotics. However, lots of criticisms do not show a solid academic background and are short of valuable judgment and orientation, even the proof and vigorous demonstration. More specifically, photography criticism must make the choice be