连贯空间·图像纪实·政治认同——延安时期摄影展览的效果及传播功能考察  

Coherent Space-Image Documentary-Political Identity—An Examination of the Effects and Communication Functions of Photographic Exhibitions in the Yan’an Period

作　　者：李萍[1,2] 周洁[1] LI Ping;ZHOU Jie(School of Literature and Journalism,Yan’an University,Yan’an 716000,Shaanxi;School of Literature,Shaanxi Normal University,Xi’an 710000,Shaanxi)

机构地区：[1]延安大学文学与新闻传播学院,陕西延安716000 [2]陕西师范大学文学院,陕西西安710000

出　　处：《延安大学学报（社会科学版）》2024年第5期66-72,87,共8页Journal of Yan'an University (Social Sciences Edition)

基　　金：陕西省社会科学基金项目“延安时期卫生运动中的美术实践研究”(2023J134);延安大学延安精神研究中心培育项目“图像中的‘共同体’:延安时期木刻版画研究”(YAJSYJZX2023-09)。

摘　　要：延安时期摄影展览作为一种迥异于传统书画展览的新兴视觉表现形式,在中国共产党的宣传工作中发挥着关键作用。组织者在筹办摄影展览的过程中,应用了空间-内容连贯性设置、正反典型对比等多元化的布展策略,这不仅在情感上为边区民众进行赋能,也作用于边区民众的实践行为。更为重要的是,出于战时语境和政治叙事的需要,摄影展览逐渐让渡为一种视觉装置,对中共的话语政策和无产阶级的意识形态进行具象化生产与阐释,进而形塑了边区民众的政治认同。During the Yan’an period,photography exhibition,as an emerging form of visual expression quite different from traditional painting and calligraphy exhibition,played a key role in the propaganda work of the Communist Party of China(CPC).In the process of organizing the photography exhibition,the organizers applied diversified exhibition strategies,such as spatial-content coherence,positive and negative typical contrasts,which not only emotionally empowered the people in the border areas,but also acted on the practical behavior of the people in the border areas.More importantly,out of the wartime context and the need for political narratives,the photography exhibition gradually gave way to a visual device that produced and interpreted the discursive policies of the CPC and the ideology of the proletariat,and then shaped the political identity of the people in the border areas.

关 键 词：延安时期 摄影展览 空间连贯性 宣传典型性 政治认同 

分 类 号：I206[文学—中国文学]