• 主题
高级搜索  >
历史搜索 清空历史
首页> 外文期刊>Photographies >SURELY FADES AWAY
【24h】

SURELY FADES AWAY

机译：一定会消失

获取原文
获取原文并翻译 | 示例
           
页面导航
  • 摘要
  • 著录项
  • 相似文献
  • 相关主题

摘要

Photography has always had a precarious relation to cultural value: as Walter Benjamin put it, those who argued for photography as an art were bringing it to a tribunal it was in the process of overthrowing. This article examines the case of Polaroid, a company and technology that, after Kodak and prior to digital, contributed most to the mass-amateurization of photography, and therefore, one might expect, to its cultural devaluation. It considers the specific properties of the technology, the often skeptical reception Polaroid cameras and film received from the professional photographic press, and Polaroid's own strategies of self-presentation, and finds that in each case a contradictory picture emerges. Like fast food, the Polaroid image is defined by its speed of appearance - the proximity of its production and consumption - and is accordingly devalued; and yet at the same time it produces a single, unique print. The professional photographic press, self-appointed arbiters of photographic value, were often rapturous about the technical breakthroughs achieved by Polaroid, but dismissive of the potential non-amateur applications and anxious about the implications for the 'expert' photographer of a camera that replaced the expert's functions. For obvious marketing reasons, Polaroid itself was always keen to emphasize what the experts scorned in its products (simplicity of operation), and yet, equally, consistently positioned itself at the “luxury” end of the camera market and carried out an ambitious cultural program that emphasized the “aesthetic” potential of Polaroid photography. The article concludes that this highly ambivalent status of Polaroid technology in relation to cultural value means that it shares basic features with kitsch, a fact that has been exploited by, among others, William Wegman, and has been amplified by the current decline and imminent disappearance of Polaroid photography.
机译：摄影与文化价值一直存在着不稳定的关系：正如沃尔特·本杰明（Walter Benjamin）所说，那些主张将摄影作为一种艺术的人正将摄影带到法庭，这是推翻的过程。本文考察了宝丽来的案例。宝丽来是一家公司和技术，在柯达之后和数码之前，对摄影的大众化做出了最大贡献，因此人们可能会期望其文化贬值。它考虑了该技术的特定属性，通常受到怀疑的宝丽来相机和从专业照相馆收到的胶卷，以及宝丽来自己的自我表现策略，并发现在每种情况下都会出现矛盾的图片。像快餐食品一样，宝丽来影像是由其出现速度-生产和消费的接近程度-定义的，因此会贬值。而同时又产生了一个唯一的印刷品。专业的摄影新闻界，摄影界的自我任命者，通常对宝丽来所取得的技术突破感到欣喜，但对潜在的非业余应用不屑一顾，并担心更换“相机”的相机对“专业”摄影师的影响。专家的职能。出于明显的营销原因，宝丽来本身总是热衷于强调专家们对其产品的嘲笑（操作简便），但同样，它始终将自己定位于相机市场的“豪华”端，并开展了雄心勃勃的文化计划强调了宝丽来摄影的“审美”潜力。文章的结论是，宝丽来技术在文化价值方面的高度矛盾性意味着它具有媚俗的基本特征，这一事实已被威廉·韦格曼（William Wegman）等人利用，并被当前的衰落和即将消失的现象所放大。宝丽来摄影。

著录项

相似文献

  • 外文文献
  • 中文文献
  • 专利
获取原文

客服邮箱：kefu@zhangqiaokeyan.com

京公网安备：11010802029741号 ICP备案号：京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有

  • 客服微信

  • 服务号