Jiang Jian's Rural Documentary Photography Research From The Perspective Of Visual Anthropology

On April 5,1976,the "fourth and fifth movement" organized in tian ’anmen square quickly aroused the photographer’s consciousness and cultural conscience.Later,photographers represented by li xiaobin and Wang Zhi established the folk photography group "April film meeting" to express their dissatisfaction with photography as a political propaganda tool for a long time and call for free pronunciation of society,life and art.On April 5,1979,the "nature,society and people" film exhibition was opened in zhongshan park,Beijing.This was the first time that Chinese documentary photography got rid of the shackle of the far-left ideology and subverted and innovated the concept of whitewashing,manipulation and image creation for a long time.By the 1980s,Chinese documentary photography had entered a golden age.At this point,a large number of excellent documentary photographers emerged in China,who recorded life by means of photography and reflected social phenomena and values.Jiang jian was one of the important documentary photographers in this period.His series of photographic works completed his understanding of this era with the simple,honest and calm shooting concept.Starting from the surrounding environment and facing various social phenomena,Jiang Jian created a series of excellent works such as "Scene","Master","My Kindergarten","MaJie storyteller" and "Orphan Files".Jiang Jian’s rural documentary works fit the related concepts and core ideas of visual anthropology both in terms of creation ideas and techniques.From the perspective of visual anthropology,this paper makes an in-depth study of Jiang Jian’s rural documentary photography to explore its social significance and value.Firstly,this paper analyzes the research background,research significance and relevant literature review,and finds out the research direction and research value through data collation.Secondly,it summarizes the concepts of visual anthropology and rural documentary photography,including the basic definition of visual anthropology,the connotation of rural documentary photography and the research on the relationship between photography and visual anthropology.Then,this paper analyzes the visual anthropology context in rural documentary photography in Jian Jian,and analyzes the correlation between rural documentary photography and visual anthropology in Jiang Jian from the perspectives of the development of visual anthropology inphotography,the integration of rural documentary photography and visual anthropology in Jiang Jian,and the integration of Chinese and western photographic concepts.In addition,it focuses on.the visual anthropological characteristics of Jiang Jian’s rural documentary photography works.The analysis is carried out from the following four perspectives.Second,pay attention to the farmers,vulnerable groups represented by the bottom of the social figures;The third is the documentary nature of the creation techniques,including the shooting of environmental portraits,the static presentation of people and things,and the style juxtaposition.Fourth,the viewing mode of "seeing" and "being seen" in Jiang Jian’s images,including the objective presentation of content,participatory viewing mode,and the eye contact and dialogue between insiders and outsiders.Finally,the value of visual anthropology of rural documentary photography in Jiang Jian is discussed from three aspects:first,rural complex in rural documentary photography in Jiang Jian,including farmer complex and vulnerable groups complex;The second is the humanistic care and social reflection in Jiang Jian’s rural documentary photography.Jiang Jian made accurate observation and record of the universal real situation of human society with his photography view.Third,the reproduction and expression of Jiang Jian rural documentary photography,including the aesthetic reproduction and the establishment of personal perspective and thinking space.This paper explores the visual anthropological significance of Jiang Jian’s rural documentary photography from these aspects.