A Study Of Intertextuality In Chinese New Pictorial Photography

Intertextuality,as a textual theory,has become one of the most frequently used terms in contemporary cultural studies and literary theory.It can be used not only for analyzing literary texts,but also for studies in the field of images.As a cross-border theory,intertextuality especially emphasizes the connection and transformation between different texts,as well as the dialogue relationship formed in the collision,which contains the possibility of more meaning generation of texts.The natural interconnection and interaction between Chinese New Pictorial Photography and painting is itself inextricably linked to intertextuality.At the same time,in the diverse and complex cultural context of contemporary society,the meaning of new pictorial photography can no longer be understood from a single perspective,and the interpretation of its textual meaning generation process needs the strong support of intertextuality theory.The openness and inclusiveness of intertextuality theory will further expand the expression of Chinese neo-pictorial photography and construct a contemporary photographic language.This paper aims to introduce intertextuality theory into the field of research on Chinese neo-pictorial photography,with the core issue of "the expression and meaning production of neo-pictorial photography" as the core issue to be studied.It is divided into six parts:The introductory part mainly introduces the origin and significance of the study,the current situation of the study,the research method and the thinking.Chapter 1 focuses on the development and artistic characteristics of Chinese neo-pictorial photography.It is argued that Chinese neo-pictorial photography has shone in only a few decades of development,and the visual impact of traditional aesthetics and the reality of breaking free from the shackles of aesthetics have collided in the creation of neo-pictorial photography,providing valuable visual experience to the development of Chinese photography.The second chapter focuses on the background and specific connotation of intertextuality,and justifies "intertextuality" as a new perspective in the study of Chinese neo-pictorial photography,using intertextuality theory to explore the traditional texts that are either hidden or present in Chinese neo-pictorial photography,and explore the meaning generation of the works after their reconstruction.Chapter 3 focuses on the presentation strategies and meaning production of intertextuality in Chinese neo-pictorial photography.It focuses on four intertextual strategies:appropriation and reproduction,parody reconstruction,merging and collage,and rewriting and dissimilation,and analyzes the meaning production of intertextuality in the works with the case of new pictorial photography.Chapter 4 discusses the value of applying intertextuality theory to the study of Chinese neo-pictorial photography,aiming at exploring the process of textual meaning generation in Chinese neo-pictorial photography,the dialogue between the new work and the original work,and the transformation of the connotation of originality,in order to open up a new dimension of Chinese neo-pictorial photography criticism and contribute to the development of Chinese photography.The concluding section summarizes the whole text and reconsiders the development of Chinese neo-pictorial photography in the light of the research findings.