浙江传媒学院考研，浙江传媒学院考研分数线
济南国际摄影双年展第三届高校邀请展
“微芒成阳”亚太地区高校摄影邀请展
—湖北美术学院
—浙江传媒学院
艺术总监：曾毅
总策展：张辉、黄荣华(土耳其)、柳银珪(韩国)
学术主持：姚璐
联合策展人：张朴
湖北美术学院
摄影专业秉承“精益求精”的学术精神和“多元互动”的教学理念，探索摄影实践教学的“专业基础教学+工作室课题教学”的新模式，充分的利用美术院校的资源优势，打通学科与学科之间的专业屏障，将图像创意、观念表达、材媒语言、表现技法等作为重点难点加以研究，鼓励学生对图像思维方法和表现方法的探索，使教学更具实践性。旨培养具有图像设计创新能力和图像艺术创作能力的应用型高端人才。
在承续传统摄影的基本理论、技能和数字摄影、现代设计理念的基础上，强调以摄影为媒介的图像设计语言、图像思维方法和创作方法的学习与实践。经过2013和2017两次人培方案和教学大纲的修订，逐步形成了以“多元图像”为主导，图像艺术与图像设计与应用为主要内容，在精益求精及多元互动理念下，摄影专业通过课程板块的建设、专业综合改革试点项目和虚拟图像、古典影像及摄影平版画等课改深入推进，多方向互动融合的“多元图像”学科发展格局正在形成。
Hubei Institute of Fine Arts
The photography major adheres to the academic spirit of “striving for perfection” and the teaching concept of “multiple interaction”, explores the new mode of “professional basic teaching+studio subject teaching” of photography practice teaching, makes full use of the resource advantages of art colleges, breaks through the professional barriers between disciplines, and studies image creativity, concept expression, media language, performance techniques, etc. as key and difficult points, Encourage students to explore image thinking methods and performance methods, so as to make teaching more practical. Aim to cultivate applied high-end talents with innovative image design ability and image art creation ability.
On the basis of inheriting the basic theories and skills of traditional photography, digital photography, and modern design concepts, it emphasizes the study and practice of image design language, image thinking methods, and creation methods using photography as a medium. Through the revision of the personnel training program and teaching syllabus in 2013 and 2017, it has gradually formed the concept of image art and image design and application with “multiple images” as the main content. Under the concept of excellence and multiple interaction, the photography specialty has been further promoted through the construction of the curriculum plate, the pilot project of comprehensive reform of the specialty and the curriculum reform of virtual images, classical images and photographic lithography, The multi-directional, interactive and integrated “multi image” discipline development pattern is taking shape.
张朴 Zhang Pu
湖北美术学院教授、硕士生导师、摄影专业主任。从事图像艺术与图像设计的教学与研究工作。1988年毕业于浙江美术学院（现中国美术学院）。湖北省高等教育学会摄影教育专业委员会副主席、中国高等教育学会摄影教育专业委员会常务理事、湖北省摄影家协会理事、丽水国际古典摄影中心顾问、中国摄影家协会会员、湖北省美术家协会会员。
《城市肖像-3》
作品运用古典摄影语言和解构重构的视觉原理，试图构建一个由时间、空间和符号所组成的影像，在主观与客观之间，寻找时间对人与物的施予所产生的城市肖像。尝试将古典摄影工艺和当代意识与符号融为一体，探索当代古典影像创作的新思维，新方法。
《City Portrait-3》
Using classical photography language and the visual principle of deconstruction and reconstruction, the work attempts to build an image composed of time, space and symbols, and to find the urban portrait produced by the time’s giving to people and things between the subjective and objective. Try to integrate classical photography technology with contemporary consciousness and symbols, and explore new thinking and new methods of contemporary classical image creation.
袁瑞琦 Yuan Ruiqi
《新年》
2020年突如其来的新冠肺炎疫情席卷了全球，它带走了数以万计的生命，对人类的生活也造成了重大的影响。疫情爆发的时间正值农历新年，本该是阖家团圆的日子，病毒的肆虐却将亲人们分隔两地。在亲历疫情与新年的碰撞之后，便产生了关于生命延续、环境变化和传统习俗之间的思考。作品《新年》将疫情与新年的元素结合在一起，用蓝晒钯金混合工艺表达了2022年的新年期间疫情中的人们乐观的生活状态及战胜疫情的信心。
《New Year》
In 2020, the sudden outbreak of New Coronary Pneumonia swept the globe, taking away tens of thousands of lives and having a significant impact on human life. The outbreak of the epidemic coincided with the Lunar New Year, which was supposed to be a day of family reunion, but the spread of the virus separated relatives. After experiencing the collision between the epidemic situation and the New Year, there was a reflection on the continuity of life, environmental change and traditional customs. The work New Year combines the epidemic situation with the elements of the New Year, not only to reflect the contradiction between human destiny and traditional ideas, but also to reflect deeply on the epidemic situation and alert mankind. Even though the flame of the Spring Festival has lasted for thousands of years, no one knows whether it will be extinguished at some time. It is a must for human beings to have a clear understanding of real life.
（此处请横屏观看）
朱宜 Zhu Yi
手制书《梦境日记》
在我们塑造梦的同时，梦是否也会塑造我们的思想？古典摄影工艺手制书的创作来源于梦境和生活感受，一直做同一种梦是让我最困扰的问题，在梦中不断被追逐，不能停歇。渐渐我发现，不仅在梦中逃离，现实生活中也在逃离。弗洛伊德曾创造“掩蔽性记忆” 这一术语，意指记忆的倾向性歪曲，能够压抑或替代某些令人困扰的经验，如同显梦与隐梦的关系。我们所有围绕个人的、被压抑着的内容都驻留在重要的经验宝库即潜意识中。
矛盾的是，记忆似乎在试图同时记录和隐藏自己。本次创作以梦境中的景象为灵感来源，通过摄影来探讨梦境、潜意识和现实之间的关系，尝试与另一个维度的自我和解。
Handmade book《Dream Diary》
As we shape our dreams, will dreams shape our thoughts? The creation of handmade books of classical photography technology comes from dreams and life feelings. Having the same dream all the time is the most troublesome problem for me. I can’t stop being chased in my dream. Gradually, I found that not only in the dream, but also in real life. Freud once created the term “masked memory”, which means that the biased distortion of memory can suppress or replace some disturbing experiences, just like the relationship between explicit dreams and implicit dreams. All our personal, repressed content resides in the important treasure house of experience, namely the subconscious.
Paradoxically, memory seems to be trying to record and hide itself at the same time. Inspired by the scenes in dreams, this creation explores the relationship between dreams, subconsciousness and reality through photography, and tries to reconcile with another dimension.
刘少杰 Liu Shaojie
《规则》
法律法规与潜规则是社会规则的正反面，社会规则影响着社会中的每一个人，有的人群受到规则保护，选择遵守规则，有的人群受到潜规则的压迫与束缚，渴望挣脱规则、打破规则。交通标志是社会规则的一种可视化表现，假如交通标志中的人体拥有了自我意识，对所处的规则世界进行审视，他们会选择遵守还是选择挣脱？作品借鉴雕塑和舞蹈中的动作，利用交通标志与人体来演绎社会中不同的人群对待规则的态度以及由潜规则所引发的社会现象。
《Ruler》
Laws, regulations and hidden rules are the positive and negative sides of social rules. Social rules affect everyone in the society. Some people are protected by rules and choose to abide by them. Some people are oppressed and bound by hidden rules and are eager to break away from and break the rules. Traffic signs are a visual representation of social rules. If the human body in the traffic signs has self-consciousness and examines the rule world, will they choose to abide by or break away from it? Drawing on the movements in sculpture and dance, the work uses traffic signs and human bodies to interpret the attitudes of different people towards rules in society and the social phenomena caused by hidden rules.
浙江传媒学院
浙江传媒学院设计艺术学院摄影专业为国家级一流本科专业建设点、“十二五”省新型特色专业、“十三五”省特色专业、省一流专业建设点，在中国科学评价研究中心发布的《中国大学及学科专业评价报告》中连续七年获得五星评价，位列全国同类专业前列。拥有“世界摄影史”“报道摄影与图片编辑”“手机摄影艺术”3门国家级一流课程。通过举办“‘徐肖冰杯’中国大学生摄影双年展”“浙江省大学生摄影竞赛”“丽水摄影节国际高校摄影联展暨摄影教育论坛”，形成行业美誉度和社会知名度。
本专业拥有教育部高等学校美术学类专业教学指导委员会委员、世界新闻摄影比赛获奖者等一批专家型教师。分为新闻纪实摄影方向、商业摄影方向、融媒体影像方向三个柔性专业方向，学生在全国摄影艺术展览、三影堂艺术展等国内国际大展中屡屡获奖。
Communication University of Zhejiang
The photography major of the School of Design and Art of Communication University of Zhejiang is a national first-class undergraduate professional construction point, a new provincial characteristic major during the “12th Five Year Plan” period, a provincial characteristic major during the “13th Five Year Plan” period, and a provincial first-class major construction point. It has won five-star evaluation for seven consecutive years in the Evaluation Report of Chinese Universities and Disciplines issued by the China Science Evaluation and Research Center, and ranks among the top of similar majors in China. It has three national first-class courses: “History of World Photography”, “Reporting Photography and Photo Editing” and “Art of Mobile Phone Photography”. Through holding “Xu Xiaobing Cup” Chinese College Students Photography Biennale ” ” Zhejiang University Students Photography Competition” “Lishui Photography Festival International College Photography Joint Exhibition and Photography Education Forum”, the industry reputation and social visibility are formed.
This major has a group of expert teachers, such as members of the Fine Arts Teaching Steering Committee of the Ministry of Education and winners of the World Press Photo Competition. It is divided into three flexible major directions: news documentary photography, commercial photography and financial media i mage. Students have won many awards in national and international exhibitions such as the National Photography Art Exhibition and the Three Shadows Art Exhibition.
李锦 Li Jin
李锦（b1988）艺术家，讲师，现任教于浙江传媒学院摄影系。毕业于中央美术学院、英国皇家艺术学院，作品获得哈里班奖（Hariban Award）佳作奖，PH Museum年度作品，全国青年摄影大展优秀作品等奖项，入选2020年浙江省造型人才新峰计划；入围Athens Photo Festival、Gomma Award等，作品发表于《中国摄影家》、《光影新峰》、《IS magazine》、《Exit Strategies》等杂志书籍上。
《黑暗中的书写》
作品《黑暗中的书写》是个人对“速成”的回应和思考。网络消费与算法科技结合的越来越紧密，通过算法运用关键词搜索可以在最短的时间内获得相关的商品链接或者信息。同样，商品的设计也在潜移默化的追求方便快捷速效，人们可以非常容易的得到某种结果。“速成”这样的现实是双面的，既是便利的又是“廉价的”。作品分为静态图像与行为录像两部分，静态图像拍摄了生活中使用的、可以帮助人们“速成”的商品，试图通过摄影本身的特性去除画面中的空间与商品属性；行为录像则是运用监控摄像镜头，在全黑的状态下去掉视觉的干扰，默写这些商品在网站上的搜索全称，试图呈现出原始缓慢的自我的识别过程，实现“极快的”与“极慢的”的时间对话。
《 Writing In the Dark 》
Writing in the Dark is a personal response to and reflection on “quick work”. The combination of network consumption and algorithm technology is more and more closely, through the algorithm using keyword search can get the relevant commodity links or information in the shortest time. Similarly, the design of commodities is also subtly in pursuit of convenience and quick effect, so that people can get certain results very easily. The reality of “quick fix” is both convenient and cheap. The work is divided into two parts: static image and behavior video. The static image captures the commodities used in life that can help people “make a quick profit”, trying to remove the space and commodity attributes in the picture through the characteristics of photography itself. Behavior video is to use the surveillance camera lens to remove the visual interference in the completely black state, and to write down the full search name of these products on the website, trying to present the original slow self-identification process, and realize the time dialogue between “extremely fast” and “extremely slow”.
徐梓齐 Xu Ziqi
《A-23-1》
2022年清明节，我从外地回到家乡祭祖，但疫情席卷而来，我因是外地返乡，按照规定被送至方舱进行七天的集中隔离。我在方舱里的代号是“A-23-1”，我好奇之前还曾有多少个A-23-1在这个空间中徘徊过。我好像能从这个空间给我的各种暗示中感觉到他们犹如困兽般的挣扎。从一开始的束手无策到最后的轻车熟路，起初被困于此的愤怒被一天天规律统一的作息化解，一切逐渐成为了成规。而在这个房间里缺少真正可以浸泡身体的自然的阳光，可当七天隔离结束我最后踏出房间迎面撞向久违的太阳时，我又发现这个世界实在是太热了。这个作品由20幅数码静态图片组成，呈现了从进入方舱隔离到离开期间我在这个一览无余的房间里对一切可见外观的观察以及心境的变迁，同时也借助摄影对抗时间。
《A-23-1 》
On Tomb Sweeping Day in 2022, I returned to my hometown to worship ancestors, but the epidemic swept over. As I returned from other places, I was sent to the shelter for seven days of centralized isolation according to regulations. My code in the shelter is “A-23-1”. I wonder how many A-23-1 have wandered in this space before. I seem to be able to feel their struggle like a trapped animal from the various hints given to me by this space. From being helpless at the beginning to being familiar with the road at the end, the anger trapped here at the beginning was resolved by a regular daily routine, and everything gradually became a rule. In this room, there is no natural sunlight that can really soak the body. But when I finally stepped out of the room and hit the long lost sun after seven days of isolation, I found that the world was too hot. This work is composed of 20 digital still pictures, showing my observation of all visible appearances and changes in my mood in the room with an unobstructed view from entering the shelter to leaving, and also fighting against time with the help of photography.
邓朗炫 赵智泉 詹所以
Deng Langxuan Zhao Zhiquan Zhan SuoYi
《风边界》
城市热岛效应是指城市因大量的人工发热、建筑物和道路等高蓄热体及绿地减少等因素，造成城市“高温化”。城市密集高大的建筑物阻碍气流通行，使城市风速减小。由于城市热岛效应，城市与郊区形成了一个昼夜相同的热力环流。本装置是一个风能感知装置，根据风量的大小输出不同的声音，再将装置输出得到的声音导入touch designer里实现声音可视化及“风能可视化”。该装置最初是想用来测试由于城镇化的建筑设施导致的风速变化，后发现这种单一的测试数据过于的直白单一，于是想用机械化、数字化的表现形式来进行诗意化的表达。电视上显示的是当下的风，但是风却被困在了热烈的“孤岛”之中，形成了一道看不见的屏障。本作品希望用这样一种方式来展示热岛效应造成的影响，同时也想警醒处在热岛之中的城市如何对待城市的规划问题。将不同强度下的风能进行记录，实时转化为相对应的声音波形图，再由随机生成的图像来进行虚拟化的表达。使不可见的自然存在的风用科技化的手段再现，并将展现出的画面重新置入到它所存在的环境之中，用一种诗意化的表达，展现出人类活动与自然的一种对立关系或是相平衡的存在关系。
《Wind Boundary》
Urban heat island effect refers to the urban “high temperature” caused by a large number of artificial heating, buildings, roads and other high heat storage and green space reduction. The dense and tall buildings in the city block the airflow and reduce the urban wind speed. Due to the urban heat island effect, the city and the suburbs form a thermal circulation that is the same day and night. This device is a wind energy sensing device, which outputs different sounds according to the wind volume, and then imports the sound output from the device into the touch designer to realize sound visualization and “wind energy visualization”. The device was originally intended to test the change of wind speed caused by urbanization building facilities. Later, it was found that this single test data was too straightforward and single, so it was intended to use mechanized and digital forms of expression for poetic expression. The TV shows the current wind, but the wind is trapped in a warm “island”, forming an invisible barrier. This work hopes to show the impact of the heat island effect in such a way, and also want to alert the cities in the heat island to how to deal with urban planning. The wind energy under different intensities is recorded and converted into corresponding sound waveform in real time, and then the randomly generated images are used for virtual expression. Make the invisible wind of natural existence reappear with scientific and technological means, and put the displayed picture back into its existing environment. With a poetic expression, it shows an opposite or balanced relationship between human activities and nature.
李翰原 Li Hanyuan
《如何淹没一棵树》
作品《如何淹没一棵树》是关于“家庭情绪记忆”的一次探索。
“情绪记忆”是法国心理学家Robot于1894年在他的《情绪记忆研究》中提出的。情绪是人类生活在不可缺少的情感元素，它主导了我们对事物的认知与记忆。而记忆同样是我们生活中最为重要的部分。
随着时代的急速发展，年轻一代的思想逐渐解放，我们作为独立存在的个体，越来越想要脱离原始的“家庭困境”，父母总是寄予我们高度的期望以及情绪的宣泄，我将这样的“困境”称为“情感藩篱”。该作品的初衷仅仅是个人情绪的宣泄与个人存在的思考，当项目深入，个体、父母、家庭与家族的情绪记忆再次涌现。我将情感通过观念摄影的方式，解构进行抽象转化为具象物件加以呈现，有别于传统家庭影像的方式，将亲情纽带抽象表达。
在这样一次次对于情感的解构与重组过程中，我逐渐找回属于亲情的情绪记忆，从而思考我们并非需要逃离这样的“情感藩篱”，重点在于我们该如何从其中捕获亲情的记忆，由此获得我们所需的情感动力。
《How to Submerge a Tree》
How to Drown a Tree is an exploration of family emotional memory.
“Emotional memory” was proposed by the French psychologist Robot in his Study of Emotional Memory in 1894. Emotion is an indispensable emotional element in human life, which dominates our cognition and memory of things. And memory is also the most important part of our lives.
With the rapid development of The Times, the minds of the young generation are gradually liberated. As independent individuals, we increasingly want to get rid of the original “family dilemma”. Our parents always place high expectations on us and vent their emotions, which I call “emotional barriers”. The original intention of this work is only the catharsis of personal emotions and the reflection of personal existence. As the project goes deeper, emotional memories of individuals, parents, families and families emerge again. Through conceptual photography, I deconstruct emotions and transform them into concrete objects to present them, which is different from the traditional way of family images and abstract expression of family ties.
In the process of deconstructing and reorganizing emotions again and again, I gradually recovered emotional memories belonging to family ties, thus thinking that we do not need to escape from such “emotional barriers”, the key is how we capture family memories from them, so as to obtain the emotional power we need.
文敏怡 Wen Minyi
《 野猪影像调查报告 》
封山育林，退耕还林等政策的实施，使得野猪得以休养生息，迅速繁殖，“三有”保护动物的名号更是给了野猪一个“免死金牌”。但是野猪们可不满足于现状，野猪们拉帮结派，清晨或傍晚都敢雄赳赳气昂昂行走于乡间小路之间，总要下山与村民们来一个声东击西。
但村民们可不会坐以待毙，围绕着田地里即将成熟的庄稼，和山上的野猪展开艰苦的攻防大战。扎草人，搭棚子看护，敲脸盆，放烟花，使尽全身解数与野猪斗智斗勇，就不信人类的智慧还比不上“猪脑子”?
野猪和村民，你中有我，我中有你，这一场没有硝烟的战争此刻正上演。
《Investigation Report On Wild Boar Image》
The implementation of the policies such as closing the mountains to cultivate forests and returning farmland to forests makes the wild boar rest and reproduce rapidly. The name of “three have” animal protection gives the wild boar a “gold medal of avoiding death”. But the wild boar is not satisfied with the present situation, the wild boar in groups, early in the morning or evening are valiant to walk between the country road, always down the hill and the villagers to a diversion.
But the villagers are not going to sit still and fight hard over the ripening crops in the fields and the wild boars in the mountains. A straw man, build a shed to watch, knock the washbasin, fireworks, so that the whole body solution and wild boar battle of wits and courage, do not believe that human wisdom is not as good as “pig brain”?
Wild boar and villagers, you have me, I have you, this is a war without smoke of gunpowder is now staged.
济南国际摄影双年展第三届高校邀请展“微芒成阳-亚太地区高校摄影邀请展”
美国参展院校：旧金山艺术大学
澳大利亚参展院校： 昆士兰艺术学院
日本参展院校： 大阪艺术大学、东京造形大学、日本九州产业大学
韩国参展院校：中央大学、弘益大学、中部大学、大邱艺术大学、韩国放送艺术教育学院
土耳其参展院校：萨班哲大学、科克大学
新加坡参展院校：拉萨尔艺术学院、南洋理工大学
马来西亚参展院校： 拉曼大学学院
泰国参展院校： 兰实大学
印度尼西亚参展院校： 印尼日惹艺术学院
中国台湾地区参展院校： 明道大学
中国参展院校：北京印刷学院、湖北美术学院、黄河科技学院、鲁迅美术学院、南京艺术学院、清华大学美术学院、山东工艺美术学院、上海工程技术大学、上海美术学院、上海师范大学、上海视觉艺术学院、四川美术学院、天津美术学院、西安理工大学、西安美术学院、西安欧亚学院、浙江传媒学院、中国美术学院、中央美术学院
主办单位：中国济南国际摄影双年展组委会
指导单位：中国摄影家协会教育委员会、中国高等教育学会摄影专业委员会
承办单位：西安理工大学艺术与设计学院 、山东工艺美术学院
媒体支持：《中国摄影家》杂志、中国摄影网
艺术总监：曾毅
总策展：张辉、黄荣华(土耳其)、柳银珪(韩国)
学术主持： 姚璐
联合策展人
Agatha Bunanta(印度尼西亚)、Ampannee Satoh(泰国)、Ang Song Nian(新加坡)、敖国兴、白晓丹、戴菲、邓岩、董钧、Eiffel Chong(马来西亚)、Erzan Adam(新加坡)、胡晓阳、吉川直哉(日本)、贾方、矫健、Lachlan Gardiner(澳大利亚)、Laleper Aytek(土耳其)、李小舟、林简娇、刘阳、Nadia Oh Sueh Peng(新加坡)、Oh Soon-Hwa(韩国)、Salleh Japar(新加坡)、沈洁、史民峰、Tan Tay Guan(马来西亚)、Ugrid Jomyin(泰国)、王培蓓、王帅、杨赫、姚璐、张朴、张省会、中里和人(日本)
艺术委员会
鲍昆、百濑俊哉(日本)、曹珽、顾铮、方肃、胡钢锋、李树峰、林路、计卫舸、宿志刚、王保国、王川、王传东、武小川、谢爱军、徐国武、阳丽君、张成义、张希红、钟建明
执行委员会
执行策展人：张一天、高帆
展场设计：吕梦星
微信推广：胡敏瑞、吕梦星、赵懿平
视频拍摄：王天俊、王登轩
英文翻译：张心睿、常永鑫
展览时间：2022年10月25日-11月20日
展览地点：山东工艺美术学院美术馆
中国摄影网签约摄影师申请流程
1、作品类型、风格、主题不限，但必须是以一个完整的专题形式呈现，须提供主题阐述、摄影师的近期 形象照 及个人简介200字左右，其他可以提供包括个人联系方式、摄影经历、荣衔资历，重要获奖、摄影感悟等。
2、个人作品集（每组15-30张，文件格式：JPG，图片宽度 大于3840像素 ，或者文件 大于5M ，不得有水印）须有每幅作品的标题或图片内容说明。
3、将以上两组文件打包压缩成RAR或ZIP格式发送网站编辑部，万能邮箱： cnphotos@163.com 。
4、入选作品，将在签约摄影师作品赏析、名家经典等栏目刊登， 其作品也将登记入库，作图片销售代理，优秀作品将推荐人民网、人民摄影报、澎湃新闻等媒体刊发，同时， 将有资格参与中国摄影网十佳摄影师评选 ，入编《中国摄影网》杂志期刊，颁发签约摄影师证书、入展证书。
大数据推荐
浙江传媒学院考研(浙江传媒学院考研分数线)