ARTICLE
Volume 2,Issue 5
20 May 2026
摄影作品：《寒土纪事》
子昂 贾1
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1
广州应用科技学院,
中国
HASS 2026 , 2(5), 45–45;
https://doi.org/10.61369/HASS.2026050014
© 2026 by the Author(s). Licensee Art and Technology, USA. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution -Noncommercial 4.0 International License (CC BY-NC 4.0) ( https://creativecommons.org/licenses/by-nc/4.0/ )
Abstract
故乡的物理空间在此成为记忆与当下对话的坐标，每一帧画面既是外在风物的切片，也是对“放逐与归返”的持续叩问。中画幅底片的细腻度强化了北方冬季的质感，使纪实升华为静观。同时，胶片介质的选择构成对数字图像霸权的异质性抵抗——其生成流程的不可全自动化，以手工介入局部抵制算法统治。以冬日故乡为对象，“归返”从内容主题上升为媒介隐喻：正如底片需经显影方使潜影浮现，故乡也需经由胶片的物质转换，才能从记忆潜影变为可见事实。画面中的明亮，正是光在转换过程中留下的必然痕迹——既是物理事实，也是媒介事实，构成此作品在批评意义上的基础。
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