自拍、朋友圈与表情包——网络图像的政治  

Selfie, Circle of Online Friends, and Emoji Package—— Politics of Network Images

作　　者：唐宏峰[1] 尹倩文 

机构地区：[1]北京师范大学艺术与传媒学院

出　　处：《文学与文化》2017年第1期46-56,共11页Literature and Culture Studies

基　　金：北京市社科基金项目"北京网络电影文化研究"(14WYC049)的阶段性成果

摘　　要：本文以自拍、朋友圈和表情包为中心讨论当代图像文化。朋友圈图像反映了当代人生活的全面图像化,图际关系取代了人际关系,朋友圈图像构成了当代最大的档案艺术。而自拍人像又是朋友圈的首要,手机摄影条件和当代审美观念带来高度僵化的自拍图式,人们越来越经常地具有一种特殊身份——"被拍摄的人",要提前使自己变成影像。而这一切是摄影视觉性发展的结果,摄影切割、固定、放大、重组其对象,使得"表情"被无限突出。表情包图像的根本特征在于"套层"与"脱域"的双重机制,基于photoshop技术,表情包图像组合了不同层次、相互之间矛盾与拆解的图像元素,其意义中空,却由此最好地发挥了设定的政治功能。而所有这些网络图像最终幻化为一种"物化景观",成为当代图像政治的隐喻。This paper discusses contemporary image culture via the analysis of selfie, circle of online friends, and emoji package. Photos and emoji in circle of online friends reflect the overall images of people＇s life at contemporary time. Interpersonal relationship tends to be full of these online images, which are pervasive in the circle of online friends and constitute contemporarily the maximal archival arts. Portrait selfie is a dominant component in circle of online friends. The limitation of cellphone photography and contemporary aesthetic ideas result in the rigid selfie patterns. People are more and more the photoed ones, becoming images before they are realized. This results from development of photographic Visualization, with photos being partly selected, fixed, magnified, and recombined. Emoji expressions are exaggerated to an unlimited extent. The essence of emoji package lies in combination and deterritorialization of pictures, based on photoshop technology. Images in emoji package get the elements of different aspects integrated, with different layers, and deconstructive and contradictory images, implicating their political functions. All these network images are transformed into materialized landscape, becoming a metaphor for contemporary image politics.

关 键 词：自拍 朋友圈 表情包 图像政治 摄影视觉 

分 类 号：J405[艺术—摄影艺术] TP391.41[自动化与计算机技术—计算机应用技术]