文化情感动员：《晋察冀画报》的图像实践和视觉说服

吴果中; 刘  晗

文化情感动员：《晋察冀画报》的图像实践和视觉说服

引用本文：吴果中，刘晗.文化情感动员：《晋察冀画报》的图像实践和视觉说服[J].湖南大学学报社会科学版,2020,(6):154-160

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作者	单位
吴果中，刘晗	（湖南师范大学新闻与传播学院，湖南长沙 410081）

中文摘要:一个时代的摄影摄像，往往象征了该时代的社会文化和信息观念。基于抗战时期中国社会的文艺制度和乡村结构以及“摄影武器论”的摄影观念，《晋察冀画报》及其画刊系列从“民间”和“文化情感”立意，通过“血的控诉”与胜利图景的告慰、“古长城”“毛泽东”形象的视觉符号化以及将中国政治文化置于国际舆论场等视觉说服技巧，构建了一套服务于解放区革命意识形态的视觉符号，制造民众的身份认同，实施文化情感动员。但这种视觉实践未能因时而变，导致“摄影八股”的滋生，部分消解了图像的动员力量。

中文关键词:《晋察冀画报》视觉符号民间化文化动员情感认同

Mobilization of Cultural Emotions：Images Practice and Visual Persuasion of Chin-Cha-Chi Pictorial

Abstract:Photography often symbolizes the social culture and information conception in its age. Based on the literature&art system and rural structure and the notions which regard photography as a weapon in China’s society during the War of Resistance Against Japanese Aggression, Chin-Cha-Chi Pictorial along with its serial albums,which is based on popularization and cultural emotions, had adopted a series of visual persuasion skills including the accusation of blood, the comfort of triumphal scene, and visual-symbolizing the image of the ancient Great Wall and Chairman Mao, as well as putting Chinese political cultures into the international public opinion, to build a set of visual symbols serving the revolutionary ideology in liberated area and the identity of the people, in order to implement a mobilization of cultural emotions. But its image practice failed to change in accordance with the time, breeding stereotyped photography which impaired the power of image mobilization.

keywords:Chin-Cha-Chi Pictorial visual symbols popularization cultural mobilization emotional identity

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