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題名 | Tableau Vivant of Reality Photographs Charlie White, Postmodernism=後現代攝影 論Tableau Vivant--以Charlie White為例 |
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作者姓名(中文) | 李昱宏; | 書刊名 | 高雄師大學報. 人文與藝術類 |
卷期 | 34 2013.06[民102.06] |
頁次 | 頁71-96 |
分類號 | 950 |
關鍵詞 | 後現代攝影; 布列松; 擬人劇; 查理懷特; 決定性瞬間; The postmodern Renaissance; The decisive moment; Tableau Vivant; Henri Crtier-Bresson; Charlie White; |
語文 | 英文(English) |
中文摘要 | 自從決定性瞬間(The Decisive Moment) 這個攝影哲學概念於1950 年代被法國攝影師布列松(Henri Cartier-Bresson) 提出之後,已經成為一個迷思。決定性瞬間的核心根植於文化結構,對於布列松而言它是一種超現實的擬人劇(Tableau Vivant) ─ 意即他在以幾何美學作為第一順位的考量之下於時間之流裡擷取了一個足以體現現實與過去的瞬間。 簡言之,布列松的瞬間是一種帶著隱喻的符號(metaphor + symbol) ,它以單一瞬間去暗示、比喻某種情境。然而在後現代的領域裡,決定性瞬間質變為非決定性瞬間(The Indecisive Moment) ,在後現代的世界裡,所謂的瞬間成為一種寓言,凝固的單一瞬間消失了,取而代之的是一種液態般的流動時間,美國攝影師查理懷特(Charlie White) 則是箇中翹楚。本文即嘗試從決定性瞬間出發,並以後現代的視角解構懷特的擬人劇。 |
英文摘要 | Since French photographer Henri Cartier-Bresson first put the photographic theory forward in the early 1950s. In brief, this theory held that the photographer was an observer who acted without interrupting the subject or physically altering the scene being photographed. The photographer simply waited for a decisive moment to reveal itself to the photographer who then captured, and reported upon, this instant in time. Till now, The Decisive Moment is still blurred, a myth, it is ambiguous, a cliché rather than a paradigm, as Cartier-Bresson explained it, though I doubt if people and photographers really understand it or whether it just becomes a shield against critical arrows. The Decisive Moment is a cultural construction that then rhetorically operates in semiotic terms as a myth. The Decisive Moment is also teased out as a metaphor, as a metonymic condensation of time, and a signifier of the unseen, forgotten or overlooked - it is a surrealist Tableau Vivant in terms of its context. In other words, a Modernist photographic strategy in a postmodern format. Talking about The Decisive Moment as a surrealist Tableau Vivant, Charlie White is an example; he employs tableau vivant to depict his concept with regard to The Decisive Moment, which is a postmodern strategy. In spite of different styles and genres of The Decisive Moment, Cartier-Bresson and Charlie White are all embodiments of tableau vivant. The Decisive Moment of Cartier-Bresson is a symbol, which metonymically refers to daily life and Charlie White’s is an allegory which is additive. All two can be traced back to Renaissance painting but using different strategies. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。