拼贴真实:“照相蒙太奇”与20世纪30年代新闻摄影的另类呈现

Collage-Truth:Photomontage and Alternative Presentation of Photojournalism in the 1930s

新闻摄影因其机械成像的技术特性,承载了人们对客观再现新闻之真实性的向往。20世纪30年代,影写版画报在帮助新闻摄影奠定合法性地位的同时,运用照相蒙太奇手法形成独特的新闻呈现风格,并成为兼具报人与艺术家身份的编辑主体进行新闻视觉性更新的常规操作。新闻摄影真实也被重新界定为对客观再现加以征用和再创造的拼贴式真实。再现真实与建构真实并存的本土历史经验弱化了新闻摄影的客观性宣称,关联着当代新闻的视觉化转向,看似另类的早期视觉实践具有跨越时代的意义。

Press photography,by virtue of its mechanical nature,carries within it the desire for objectivity and truthfulness in journalism.In the 1930s,while Chinese pictorials helped press photography establish its legitimacy,it also presented photographs in an aesthetically expressive style by using the photomontage technique.Based on the operation of photogravure,pictorials realised both the visual fidelity of photographic printing and the openness of layout design.Photomontage,either of the free form or of the constructivist type,thus became a regular practice to ensure the thematic coverage by the editor,who has a double identity as a news worker and as an artist.Truthfulness has thus been redefined as a collage-truth that includes the appropriation and recreation of photographic representation in pictorial news production.This local historical experience of simultaneously representing and constructing truth in photomontage challenges photojournalism's claim to objectivity and resonates with the subsequent CCP press photography production and the pictorial turn within the field of contemporary journalism.In this way,the alternative practice of photomontage in photojournalism has a significance that transcends time.