广告摄影课程改革探析

文章主要对目前国内艺术设计专业摄影课程教学中经常出现的问题进行分析,提出了应该把摄影课程作为一门综合性的学科课程进行研究,改进摄影课程的教学内容,引导学生从实际、实用的角度学习、思考与实践。活学活用,这样才能令学生产生学习兴趣,从而提高教学质量。     

Soviet Photography in America: An Introduction to the New York Public Library’s Revolutionary and Post-Revolutionary Slavic,East European,and Baltic Collection

ABSTRACT

This article is an introduction to the New York Public Library’s revolutionary and post-revolutionary Soviet and East European photography holdings. It outlines the materials available to researchers from both the large and smaller collections, particularly those that are useful for studies of Revolutionary Russia and the History or World War II in Russia and Eastern Europe. Of particular note is the NYPL’s wealth of images documenting Poland during the Second World War and the Bessie Beatty album The Russian Revolution: An Album of Photographs.     

Why We Say “Cheese”: Producing the Smile in Snapshot Photography

This essay explores the history of the toothy smile as a standard expression in snapshots. An analysis of popular photo journals throughout the twentieth century suggests that Kodak played a leadership role in shaping the conceptualization and the cultural habits around photography at the time when the technology was becoming mass-consumed. The Eastman Corporation actively and innovatively used the idea of consumer happiness in its persuasion work, skillfully exploiting visual codee.     

Analysis of a varnish applied by Nicéphore Niépce to make a print used for photographic purpose transparent

Nicéphore Niépce carried out a lot of meticulous experiments that led him to the invention of photography. In particular, in the 1820s, he obtained heliographs by coating a substrate with a light-sensitive substance, which was then exposed to light under a paper print made translucent with the help of varnish. The objective of the work described here is to determine how Niépce made these paper prints transparent. Did he use his experimental knowledge on photosensitive resins, or did he apply commonly used recipes of his time to make paper transparent? To date, no studies have been carried out on the varnish used by Nicéphore Niépce and no previous research has undertaken analytical investigations on Nicéphore's prints, using Attenuated Total Reflection Fourier Transform Infrared Spectroscopy (ATR-FTIR) and Gas Chromatography/Mass Spectrometry (GC/MS). In this paper, we identify the varnishes used by Nicéphore Niépce on four transparent prints, now belonging to the Nicéphore Niépce museum in Chalon-sur-Saône, France. The varnish he used was based on a diterpenic Pinaceae sp. resin (most probably colophony). The finding is supported by historical knowledge about varnishes.     

基于认知弹性理论的《摄影技术》课程教学设计与实践

为解决《摄影技术》课程教学中学生知识迁移能力不强的教学问题,依照认知弹性理论关于学习和教学的核心观点,对《摄影技术》课程的学习内容、学习资源和认知工具等要素进行了分析和设计,经过教学方案的实施,教学效果明显。     

Visual Design in Collections of Writing by South African Children

Visual aspects of 12 collections of children’s writing that were published in South Africa between 1986 and 2003 are considered. The covers, illustrations, facsimiles of original writing and artwork, fonts, colours and author credits create images of childhood and youth and provide clues to the purposes for which the collections were made and published. Spanning the period from the last days of apartheid to today’s modern, democratic country, they provide an unusual insight into the changing place of the young in South African society. Elwyn Jenkins is Professor Extraordinarius in the Department of English Studies, University of South Africa, Pretoria. His publications include Children of the Sun: Selected Writers and Themes in South African Children’s Literature (Ravan, 1993), South Africa in English-language Children’s Literature, 1814–1912 (2002), and contributions to The Cambridge Guide to Children’s Books in English (2001) and The Oxford Encyclopedia of Children’s Literature (2006).     

摄影课程的实践教学研究

摄影课程的实践教学要以情境化教学为主线,以实际任务为载体,充分利用学校资源,加强与社会摄影机构的联系,尝试市场化运作,从而提高学习者的摄影技艺水平与适应社会的能力。     

以真实的名义获取可能的真实：关于纪录片创作中几种拍摄方法的解析

关于纪录片真实性的理论探讨似乎已止于解释学。但由此而带来的创作上的困惑却并未消失。本文试图从具体的拍摄方法入手,去读解那些在真实名义之下获得的可能的真实,并尽量阐明其涵盖的意义。