建筑景观、街头记录及其“情感结构”——1930年代上海画报的都市图像呈现研究

Architectural Landscape,Street Records and Their Emotional Structure:Research on Urban Image Presentation of Shanghai Pictorial in 1930s

作为1930年代上海的重要媒介,画报利用摄影图像及文字重构都市上海。一方面,画报以高楼、街道、灯光等城市建筑景观为展现对象,其摄影照片大多采用仰视的角度和以远景、全景来构图,通过"景观化"的都市形态,显示都市大众对现代物质文明的憧憬与渴望;另一方面,画报以街头为"容器",通过采用近景和平视方式展现都市平民以及他们劳作谋生场景的照片,构型了都市传统、落后乃至罪恶等"非现代性"色调,表达出对现代都市文明的某种批判意味。实际上,在1930年代上海画报的都市图像展示中,编辑们常用"并置"方式将"矛盾"的都市形态建构出来,而在图文意义的悖反裂隙中,也不经意间潜藏着其对都市的价值取向和情感结构,体现出中产阶层对现代都市既向往又疏离的复杂心态。

As an important medium of the 1930 s Shanghai,the pictorial used photographic images and words to reconstruct the city of Shanghai.On the one hand,the pictorial takes high-rise buildings,streets,lights and other urban buildings as the display objects,and most of its photos adopt the perspective of looking up and the composition of vision and panorama.Through the“landscape”urban form,it shows the urban public’s vision and desire for modern material civilization;On the other hand,the pictorial takes the street as the“container”and shows the photos of the common people and their work and livelihood scenes in close range and peace view,which configures“non-modernity”colors such as tradition,backwardness and even crime,and expresses some criticism of modern urban civilization.In fact,in the urban image display of the 1930 s Shanghai pictorial,editors often used the“juxtaposition”method to construct the“contradictory”urban form,and inadvertently implied their value orientation and emotional structure to the city in the contradictory crack of graphic meaning,reflecting the complex mentality of the middle class yearning for and alienating from the modern city.