画意摄影的跨媒介叙事论析

An Analysis of Inter-media Narrative in Pictorial Photography

西方摄影史上的画意摄影,指的是出现于19世纪晚期并延伸至20世纪早期的一种试图模仿绘画而提升自身艺术地位和叙事能力的摄影思潮。画意摄影通过创作主体的积极介入,尽可能掩盖或改变摄影与生俱来的机械特性,从而使其成为真正的自由创作的艺术类型。画意摄影的跨媒介叙事方式,是在模仿绘画、雕塑等艺术媒介的叙事模式中形成的,概括起来主要有两种:拼贴与扮演。通过拼贴方式建构起来的跨媒介叙事,就像是电影中的蒙太奇,因此可以将这种叙事方式称作摄影的蒙太奇叙事。扮演式画意摄影中的演员不仅仅是他们自己,更代表着整个故事世界;或者说,他们只是人们能够看到的摄影图像背后更大的故事世界的一个“索引”。画意摄影跨媒介叙事的两种主要方式,往往具有交叉、互融的特征。画意摄影是一个既是“时期”也是“风格”的概念。

Pictorial photography in western photography history refers to a trend that tried to enhance the artistic status and narrative ability of photography by imitating painting in the late 19th Century and the early 20th Century.Through artists'active intervention,it tries to conceal or change the inherent mechanical characteristics of photography as much as possible,making it a truly free type of art.Pictorial photography forms its Inter-media narrative by imitating the narrative models of art media such as painting and sculpturing,and there are two major types:collage and role-playing.The collage-based Inter-media narrative is like montage in movies,hence the name montage narrative.When it comes to role-playing pictorial photography,actors are more than themselves,as they represent the entire story world;in other words,they are a"lead"to the larger story world that people can see behind photographs.These two major types are always interconnected and integrated.Pictorial photography is a concept that represents both"a period of time"and"a style".