"Screen" As Reality

In the real moment of screen survival,what paths can we take for photography creation?This article explores the "screen image" and its "production path" brought about by digital technology from the perspective of "post-photography." The research of this paper is mainly based on the following three issues:What is "post-photography"?——Theoretical and presupposed framework of view.In the 1980s,the emergence of digital technology made the "reproducibility" in the objectivity of photography under attack and gradually collapsed with the advent of"the end of photography theory." Against this background,American media art researcher William Mitchell proposed the concept of "post-photography" to refer to the era of photography after "death." However,among the theoretical writing related to "post-photography," almost the representational crises of photography are blamed on digital technology,which means the digital image has denied the characteristics of objective reproduction of photography.Through the literature review and the proof of examples,the author claims the following points:1.Equalizing digital technology and"the death of photography" is a technical deterministic assertion,its appearance is not the main reason to explain a change in the concept of photography,but because the idea of objective reproduction is inherently unreliable;2.The view that digital technology is entirely tantamount to "post-photography" is also questionable,for it conceals the harmonious relationship between photography and contemporary art;3.The development of digital technology did not end reproduction,on the contrary,it extended and renewed photography.Why is it "screen"?——Interdisciplinary research and interpretation of research objects.Based on the writing context of "post-photography," this article explains and explores the actual situation of "screen survival" through relevant materials of digital technology,media,and popular culture.Based on the analysis of related theoretical texts,historical cases,and news data,the author believes that:1.The combination of mobile Internet and digital imaging has given rise to mobile phone photography at high speed.While it generated the democratization and popularization of photography,it also leads images to become homogeneous and redundant in the process of network communication and made our lives and screens more intimate and ambiguous;2.Digital technology is continually expanding the boundaries of "photography." In addition to internet interactions,those images produced by screens also generate virtual reality.Therefore,the square-inch screen has become another "reality."How to use "screen" to explore the creative path of photography?——Study and analysis of the methods and strategies.Nowadays,more and more artists have no longer wholly succumbed to the photos taken by the "camera," they have begun to use digital technology to conduct screen image production experiments.Through combing and summarizing domestic and foreign artwork,this article strives to present a path that can be referenced in photography creation.Need to point out:The analysis of the "screen image" and its "production path" from the perspective of "post-photography" is neither mere advocacy of scientific theory nor a strategic routine for making it.By contrast,this article hopes that through the research,the creators can escape the constraints of "photography" and explore the more creative possibilities and potential values of photography in the current "screen survival" reality.