后现代视野下的影像史学——兼论“Historiophoty”在中国史学语境的实践与发展  

The Historiophoty from the Perspective of Postmodernism——On the Practice of“Historiophoty”in the Context of Chinese Historiography

作　　者：吴琼[1] WU Qiong(School of History,Beijing Normal University,Beijing 100875,China)

机构地区：[1]北京师范大学历史学院,北京100875

出　　处：《北京联合大学学报（人文社会科学版）》2021年第1期73-78,共6页Journal of Beijing Union University(Humanities and Social Sciences)

摘　　要：自1988年美国历史学家海登·怀特提出“Historiophoty”的概念,用于表达影视和史学的关系,至1990年代该词翻译进入学界以来,不断有学者结合西方史学和中国史学传统,阐释影像材料在史学研究中的作用,讨论影像作为史料的优缺点,从不同的角度解读这一史学研究的新概念。事实上,围绕这一概念的认知和实践,国内史学界不断有诸如前缀“影视”“图像”“影像”等定语的史学文章出现,概念交叉常导致在教学和实践中逻辑的不自洽。在多年从事影像创作实践和高校历史实验教学的基础上,探讨“Historiophoty”作为“影像史学”的本体内涵对当前国内影像史学理论建设是必要的。In 1988,Hayden White,an American historian,put forward the concept of“historiophorty”,which is used to express the relationship between film and television and historiography.Since the word was translated into Chinese in the 1990s,scholars have been combining the Western and Chinese historiography traditions to explain the role of image materials in historical research,discuss the advantages and disadvantages of images as historical materials,and interpret it from different perspectives.In fact,around the cognition and practice of this concept,there are a lot of historical articles about the prefix“film and television”,“image”,and other attributives in the domestic historiography circle.The overlapping of concepts often leads to the inconsistency of logic in teaching and practice.On the basis of years of experience in image creation and history teaching in colleges and universities,it is necessary to further explore the ontological connotation of“historiography”as“image history”.

关 键 词：后现代 “Historiophoty”影像史学 影像实验 

分 类 号：J909.2[艺术—电影电视艺术]