论文部分内容阅读
通过架上绘画对电视事件的画面还原,陈曦的组画《中国记忆》表明电视是人们生活空间的视觉重心,也是一种在观看空间和观看过程中协调各种社会关系和意义的生活实践和重要景观。作为一种象征权力的运行方式,电视使受众本身成为可以观察、测量、控制和挪用的对象。电视事件的仪式化呈现在展示着社会发展的连续轨迹时,重新定义社会界线,成为集体记忆的凭证和宏大叙事的节点。
Chen Yi’s group painting “Chinese Memory” shows that television is the visual center of gravity of people’s living space and a kind of life practice and importance in coordinating various social relations and meanings in the viewing space and viewing process. landscape. As a way of symbolizing power, television makes the audience itself an object that can be observed, measured, controlled, and diverted. The ritualization of television events has emerged as a showcase of the continuous trajectory of social development by redefining the social boundaries and becoming the node of collective memory vouchers and grand narratives.