The Study Of Jacque Rancière’s Image

In the 21st century,image has become a focus of the academic circle.As one of the most active French thinkers of the era,Jacques Rancière brought new vitality to the development of contemporary aesthetics with his image theory.Focusing on Rancière’s image theory,this paper probes into the background of the theory,analyzes the ideological connotation of image theory,and expounds Rancière’s specific interpretation of artistic images in painting,photography,exhibition,film,and then discusses the value and significance of Rancière’s image theory.This paper is divided into four chapters in addition to the introduction and conclusion.The contents are as follows:The first chapter studies the formation of Rancière’s image theory.Rancière developed his own theory through his criticism of Althusser and reference to the ideas of Jacotot and Foucault,and developed an aesthetic thought based on equality,with "distribution of the sensible" as the core,and proposed the regime of art theory to re-identify art.After entering the image era,Rancière further enriched and developed his own aesthetic thoughts,and uniquely cared for images under the aesthetic regime of art.The second chapter analyzes the connotation of Rancière’s image theory.In his locale,the image was not limited to visual art in visible form,but was a process related to the production of a wider range of modern art.Hovering between similarity and dissimilarity,images exist as the words of the original sensible presence and the words that encode the story.After art entered the modern era,In response to the absence of a common scale caused by the establishment of its autonomy,Rancière proposed a new "sentence-image" aesthetic scale,which gives play to the double aesthetic power of images,that is "connecting and separating".In addition,Rancière proposed the replacement of the silent and submissive spectator with "the Emancipated Spectator" from the perspective of spectators.On this basis,Rancière argued that the future of the image has not come to an end,but there is a new change resulting from the recombination of pure art and art-life integration.The third chapter discusses Rancière’s specific interpretation of artistic images in painting,photography,exhibition,film,etc.In terms of painting,Rancière proposed the "common surface" theory to refute Greenberg’s "flatness" theory in painting,arguing that the text and images could slide on the plane of communication;in terms of photography,Rancière emphasized that photography,as an art,was the result of the combined effect of image presentation and viewer’s perceptual participation through the interpretation of Roland Barthes and Benjamin’s views on photography;in terms of exhibition,Rancière analyzed why the critical art,as "the third road",gradually lost its critical function in the wave of globalization and commercialization;in terms of film,Rancière believed that as a special kind of art,film was a manifestation of the contradiction and unity of the representative regime of art and the aesthetic regime of art.In addition,through the criticism of Deleuze’s film theory,he reflected on the modernity of film art.Rancière’s care for various artistic images under the framework of the Regime of Art shows that the autonomy of art and art’s intervention in politics and life are co-related.The fourth chapter discusses the significance of Rancière’s image theory.Rancière’s image theory reflects a certain breakthrough thinking of Western thinkers,reinvigorates the criticality and vitality that aesthetics should have in the contemporary era,and points out a new direction for the development of contemporary aesthetics,that is equality and liberation.