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强化“视觉”作为(观者)主体能力的“观看”(也包含“阅读”),从而分析媒介技术对人类观看方式影响以及在此过程中建构起的视觉体制,是一条文艺学研究切入视觉文化的更为恰当的路径。观看的文化分析可从“视框”、“时空”、“视角”、“境遇”和“观者”五个部分展开:“视框”着眼于视像在现实的观看情境中的存在方式,“时空”关注于人与视像间特定的时空关系,“视角”则从观者的主动性角度展开复杂的观看意向;有别于前三者的“观看的微观情境”、“境遇”则从宏观的政治、经济、文化情境中展开观看的诗学、观看的经济学和观看的政治学;最后,“观者”也不仅仅是一个“视点”(观看—位置)和“观众”(不管是“被动的”还是“能动的”),他更是现实社会生活中的活生生的个体,在不同的观看方式中形成了不同的观者类型。
To strengthen “visual ” as the “viewing” (also including “reading ”) of the subject’s ability to analyze the influence of media technology on human viewing and the visual system built up in the process is A more appropriate approach to the research of literary studies into visual culture. The cultural analysis of viewing can be expanded from the following five parts: “frame”, “spacetime”, “perspective”, “circumstance” and “viewer” The mode of existence of the video in the realistic viewing situation focuses on the specific space-time relationship between man and the video, and the perspective of the viewer expands the complicated viewing intention from the viewpoint of the viewer. In the first three cases, the “micro-situation of viewing” and “circumstance” unfold the poetics of viewing, the economics of observation and the politics of observation from macro-political, economic and cultural situations. Finally, The viewer is not just a Viewpoint or Viewpoint, either in the Passive or the Inactive, but in the real world of social life Of living individuals, in different ways to watch the formation of a different type of viewer.