A Study Of Baudrillard’s Theory Of Photographic Art

Baudrillard is both a theorist and a photography artist.This article discusses Baudrillard’s theoretical system of photography art.Taking the concepts of temptation,simulation and other concepts previously proposed by Baudrillard as the starting point,combining the content of"world as appearance and illusion",and combed the relationship between Baudrillard’s art theory and his entire theoretical system.Analyze his advanced theory in photography art.This article is divided into the following sections:The preface briefly introduces Baudrillard’s life and ideological development trajectory,and summarizes the previous researches in this article,indicating that this article will focus on the study of Baudrillard’s photography art theory through textual reading and picture analysis.The first chapter mainly introduces and sorts out the concept of "temptation",focusing on the basic content and meaning of "temptation",grasping its relationship with the theory of photography art,and then deriving Baudrillard’s theory of photography temptation.From the four aspects of photography temptation theory,the lack of dimension,the temptation of "things",the interpretation of mirror image theory,and the key point of Baudrillard’s photography temptation theory-subject and object inversion,explain the art of photography art.From the perspective of deceptively realistic paintings,the lack of dimension is the process of temptation to gradually eliminate the connection between the object and the world and become an independent individual.At the same time,it is demonstrated that apart from the lack of light dimension,the stripping of meaning is the lack of dimension and the most important content.The temptation of "things" partly sorts out the evolution of the status of "things" since Aristotle,that is,the step by step from the bottom to the capital,into the main field of photography,and analyzes what Baudrillard believes is the subject of shooting difficulties of characters.The mirror image theory is also the key point in the discussion of Baudrillard’s temptation theory,and the inversion of the subject and object,that is,reversibility,is also the key to the penetration of the theory of photography,through the importance of Benjamin,Susan Sontag and Roland Bart.Art theorists compared and explained Baudrillard’s important reversal significance to this theoretical point.The related discussion takes the artistic works taken by Baudrillard as material support,and conducts a more comprehensive analysis of his photographic works.The second chapter aims to explain the way that image violence uses the simulation model,so that the society constructed by the image transitions from simulation to simulation,and then explores the internal relationship between simulation and temptation,as well as the internality of the media caused by it.Burst and emotional suspension.Demonstrating the loss of meaning,zero degrees and nihility become key contents,and photography art as a form of media cannot escape this situation.Discovering and proving that simulacrum,simulant,and hyper-realism are the key points of Baudrillard’s later academic content,and have a close internal connection with Baudrillard’s temptation of temptation,which in turn influenced him to propose the concept of zero-degree photography.In addition,Baudrillard’s photography art theory is greatly influenced by Xie Gelan’s "other" theory.Xie Gelan’s exoticism mainly focuses on the relationship between the self and the other,and the "other" theory affects Baudrillard.Feminism has an influence,so that the content of feminism is complementary to the subject-object relationship in Baudrillard’s photography.The third chapter starts from the state of subject and object to explain and analyze the technical technique of photography art itself,focusing on the two key points of Baudrillard’s photography art:zero degree and disappearance.The zero degree of the object is reflected in its collection meaning and transparency meaning.It discusses the content presentation of the still state of the photo,contrasts with the dynamic photography skills,and discusses the internal and external performance of photography in different states,thus reflecting its photography art theory.The most important technique-disappearing technique.The discussion of the zero degree of photography is the highlight of Baudrillard’s unique art of photography.The discussion in this chapter also mentioned the more important meaning of subject disappearance,which caused the absence of the photographic subject due to the disappearing technique,and the absence of the photographic subject reflects the initiative of the object,thus echoing the content of the inverted subject and object mentioned above.The fourth chapter attempts to use the "language" method proposed by Baudrillard to perform aesthetic salvation through the problems faced by the current photography art.This section discusses from the perspective of Baudrillard’s anti-aesthetics and super-aesthetics.Regarding the image violence suffered in the media era of photography theory,Baudrillard said that photography can enter the category of poetic language for aesthetic salvation.The green poetic photographic language can be captured from Baudrillard’s photographic works,and further thinking about whether the artistic salvation proposed by Heidegger can be applied to it,and whether it is common to Baudrillard’s language and aesthetic salvation Place.Finally,it is concluded that whether the retrospective of the poetic language of photography and the ecological concept can save this is the key to the development of Baudrillard’s photography art theory.The conclusion makes an overall evaluation of Baudrillard’s photography art theory,and at the same time sorts out and looks forward to the issues that are not adequately discussed in the previous article.