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自19世纪博物馆兴起以来,摄影作品始终是博物馆实际运作的一部分,对创造文化遗产至关重要(Rowland,2013)。数量上而言,博物馆收藏的摄影作品往往比馆内的所有其他藏品都多。1影像对我们感知生活和社会的方式影响巨大,但由于影像收藏常常是通过礼赠、捐助而被动接受的,因此无法展现日常生活的全部奥妙。摄影作品收藏往往通过捕捉重要的建筑和人物来描绘社会。摄影的进化一份收藏或档案的建立是基于收藏品管理的一系列想法。照片历史学家安娜·达尔格伦认为,档案既非客观的收藏,又非工艺品的被动接受者,而是基于档案创造者和管理者的需求与兴趣的社会建构:
Photographs have always been part of the museum’s real operation since the rise of the 19th century museum and are crucial to the creation of cultural heritage (Rowland, 2013). Quantitatively, museum collections tend to have more photographic collections than all the other collections in the museum. 1 Images have a huge impact on the way we perceive life and society. However, as the collection of images is often passively received through donations and donations, the entire mystery of everyday life can not be demonstrated. Photograph collections tend to portray society by capturing important buildings and people. The evolution of photography A collection or archive is based on a collection of collections management ideas. According to photo historian Anna Dalgren, the archive is neither an objective collection nor a passive recipient of handicrafts but a social construct based on the needs and interests of archivists and managers: