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不知从什么时候开始,照相本里的“反差效果”被移植到新闻报道中来了。笔者从事新闻工作时间不长,却已察觉到有为数不算太少的通讯员、记者和编辑对“反差效果”有着一种特殊的爱好。他们认为新闻报道只有“反差”显著,才算得上一篇令人瞩目的好新闻。于是乎,把“反差效果”当作新闻写作中有 相似文献
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什么是反差?通常,反差是指不同事物或同一事物的不同方面对比的差异。在网络出版物的设计中反差又能够带给观众怎样的视觉感受呢?记得在一次课堂上我给学生 相似文献
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图片是报纸中传递信息的重要因素,高质量的图片可以帮助信息的传递。制作好报纸的彩色图片,要首先了解一些基本的图像知识。在黑白图片中,最重要的就是反差和层次,反差大了,层次相对就少了。 相似文献
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“亮晶晶”与体育管理当局之间的冲突刚刚结束，天才少年丁俊晖成功了。一个明显的反差是，没有哪个政府机构试图干预他的赛事安排，或者试图瓜分他的奖金——当然，税务局也许除外。 相似文献
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反差越大 印象越深 总被引：1，自引：0，他引：1
摄影和写作有异曲同工之妙。 在照片上最亮与最暗部分之间的明暗之差,称做反差。反差越大,明暗的对比越强烈。 在通讯、特写中,反差越大,对比越强烈,主题越突出,新闻价值越高,给读者的印象越深。 反差是丰富多采的。 一、生与死的反差 生与死是人生的两极,形成强烈的反差。 《超越死亡的对话》(新华社哈尔滨1990年12月6日电,新华社记者张持坚、蒋耀波)写的是魏巍在通讯《谁是最可爱的人》中提到的两位烈士井玉琢、李玉安,在40年后仍然活着。烈士活着,本身就有很高的新闻价值,引人注目。记者从哲理的高度提炼主题,更加发人深思。人贵超越,超越死亡, 相似文献
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针对目前大学城周边居民文化相对低下，区域文化经济不发达，与大学城的文化出现强烈反差的现象，提出了创立大学城区域文化服务体系的设想，以提高周边居民文化信息素养，带动区域文化、经济以及政治水平的提高，同时兼顾提高高校图书馆的自身管理和服务水平。 相似文献
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数码照片档案作为数字档案资源中极具特色且重要的组成部分,对其进行保护研究是数字档案管理工作中一个重要内容。本文分析了基于计算机技术的数码照片档案真伪鉴定方法,构建了数码照片档案真实性鉴定流程,并对采用计算机技术鉴定数码照片档案真实性的应用进行了分析,最后对数码照片档案的真实性鉴定所面临的问题进行了探讨,旨在为今后学者的相关研究提供一定的学术参考。 相似文献
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Meenakshi Gigi Durham 《Critical Studies in Media Communication》2018,35(3):240-258
The Turkish photojournalist Nilüfer Demir’s photograph of the drowned refugee child Alan Kurdi attained worldwide recognition as a media spectacle, initially prompting humanitarian responses and political action, but later morphing into online memes and inciting public backlash as “war porn.” The author argues here that the ethical motivations of photojournalism and memes are oppositional with regard to their representations of embodied vulnerability. While photojournalistic depictions of vulnerable bodies are motivated by an ethics of care intended to generate empathy and progressive social change, memes disrupt those affective connotations through processes of mimicry and replication. By means of a comparative semiological analysis, this paper examines the way the sign system of Demir’s photograph was mutated into memes, radically changing the ethical connotations of the former. The differing ethical affordances of news photos versus memes, and their relationship, explain the reversal of the cosmopolitan humanitarianism initially sparked by the Alan Kurdi photograph and tell us more about the ethical frictions and contrapositions at work in the contemporary media environment. 相似文献
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Tim Schlak 《Archival Science》2008,8(2):85-101
This article pursues the varying understandings of the photograph in archival literature. An in-depth review of the scholarship
uncovers several possible reasons why archivists and those writing about photographic archives apparently continue to struggle
with the photograph, including: the sheer difficulty that photographs as an elusive medium present; past debates about photography
in art history, history, and archival literature; and the challenges that the photograph as an evasive document presents to
the contradictory nature of archives themselves and to conceptions of archival science. Having evolved from an understanding
of photographs that conflated content with meaning to postmodernist notions of contingent and plural meanings in which photographs
participate, archival writings on the photograph hold promise as they begin to tread the waters that Schwartz charted in the
last 15 years. This paper follows that historical progression in order to trace the discourse on photographic archives that
has emerged over the past three decades.
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| Tim SchlakEmail: |
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Thirty years after the fact, the Vietnam War continues to haunt the collective memory of the United States. One of the primary embodiments of that haunting is the image of a naked girl running down a road toward the camera, screaming in pain and terror from the napalm burns on her back and arms. The photograph, often dubbed “accidental napalm,” provides a complex construction of viewer response that was uniquely suited to the conditions of representation in the Vietnam era, while it reflects a continuing struggle within public culture since that time. In this essay, we offer a close reading of the photograph as a performance of public judgment, and we explore its subsequent history of appropriation. We argue that the photograph functions as a powerful emotional and inventional resource for animating moral deliberation and democratic dissent as it mediates the “stranger relationality” central to public engagement. At the same time, the image also motivates dominant narrative responses that reinscribe liberal ideology to inhibit collective memory and public accountability. This ambivalence in the circulation of the iconic image is grounded in fundamental affinities between photographic representation, public culture, and mass media. 相似文献
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A. Nieto-Villena J. R. Martínez J. M. Flores-Camacho A. Lastras-Martínez J. A. de la Cruz-Mendoza G. Ortega-Zarzosa 《文物保护研究》2018,63(8):466-476
Focusing on the photographic archive of Julian Carrillo (Mexico), we study and characterize the photographic processes of a set of 13 photographs dated between 1884 and 1925. By using infrared spectroscopic ellipsometry, we classified a selected set of photographs according to its kind of binder. Thus, we recognized for each photograph, the presence of proteins, and therefore, the particular photographic process. Furthermore, we have identified the presence of baryta layer, the use of plasticizer, and the eventual coating utilized to protect the photograph, whose composition was based in natural organic components, mainly shellac, beeswax, or camphor. 相似文献
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Megan D. McFarlane 《Visual Communication Quarterly》2016,23(1):3-13
On the night of May 1, 2011, almost 10 years after the 9/11 attacks, President Obama announced on live television that Osama bin Laden was dead. The next day, the Situation Room photograph was released, revealing a behind-the-scenes glimpse of how tense it was at the White House while the mission was underway. Building on previous scholarship about the rhetorical presidency and visual rhetoric, this essay analyzes how the photograph, combined with the context of Obama's speech the night of the raid, contributes to the increasingly visual aspect of the rhetorical presidency and creates an image of Obama as a strong commander in chief. 相似文献
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ADRIENNE BERNEY 《Curator: The Museum Journal》2001,44(4):370-377
A photograph in the Louisiana State Museum collection raises many questions. The image compels a viewer to ponder the circumstances associated with the creation of the portrait circa 1860, and its subsequent defacement. The piece inspired staff members to conduct a survey to assess the photograph's potential for exhibition. Survey participants interpreted the image in a variety of ways. While the majority assumed a filial relationship between the portrait's two subjects, a significant minority concluded that the picture showed a slave nanny with her White infant charge, a history that the piece's fragmented provenance supports. Most participants found the cut out face of the adult subject intriguing, and their responses suggested the power the photograph could have in an exhibition and the value of artifact questions. 相似文献