摘要
以伽达默尔的'游戏互动理论'和姚斯为代表的'接受美学理论'为框架,检视跨媒介摄影的美学面貌,以解决当下层出不穷却又难以解读的跨媒介摄影热潮。文章先从摄影的美学历史流变切入,然后以游戏理论检视跨媒介摄影的自我呈现,以接受美学(特别是姚斯的'审美三段论')探讨审美重心的转移,最后提出成功的跨媒介摄影离不开日常生活美学,切勿曲高和寡。
Taking Gadamer’s'game interaction theory'and Jauss’'reception aesthetics theory'as the framework,this paper examines the aesthetic features of cross-media photography in order to solve the current upsurge of cross-media photography,which is endless but difficult to interpret.This article starts with the evolution of the aesthetic history of photography,then examines the self-presentation of cross-media photography with game theory,and explores the shift of aesthetic focus with reception aesthetics(especially Jauss’'aesthetic syllogism').Finally,it points out that successful cross-media photography can not be separated from daily life aesthetics.
作者
张宝仪
王汀若
Zhang Baoyi;Wang Tingruo
出处
《浙江传媒学院学报》
2019年第4期24-30,111,共8页
Journal of Zhejiang University of Media & Communications
作者简介
张宝仪,女,助教,博士生;王汀若,男,讲师,博士生。
