英文论文代写：照片记录的时代
英文论文代写：照片记录的时代
这些照片被高度的聚焦在个人的脸上，以至于很多的背景和背景都被忽略了。有些照片我很难确定它们的位置。它们并没有唤起我和儿时朋友一起看旧照片时那种怀旧的感觉。这要么是照片的时代，要么是现代照片的处理方式，这似乎让这种怀旧的表现难以理解。弗兰普顿能够与他的照片联系起来。他对自己的人际关系漠不关心，声音似乎一直在嗡嗡作响，照片燃烧时，他既不兴奋也不担心。尽管他将过去与过去联系起来并以怀旧的方式呈现出来，但与怀旧相关的感觉或情感却缺失了(Niemeyer, 2014)。我相信弗兰普顿这样做一定是有目的的，以显示什么是怀旧。当一个人看到他们的旧照片被破坏或烧毁，然后会觉得它在这样的水平，即使有一些额外的打印可用的地方(假设弗兰普顿肯定有额外的打印照片，他正在燃烧)。
英文论文代写：照片记录的时代
我会感到那些额外的情绪，我知道如果我失去了一些我的家人、朋友和过去生活的照片，我可能会感到悲伤和沮丧。然而，当我们考虑到最近的摄影作品时，那张照片是否在那里可能并不重要。由于意外删除或意外修改而丢失了这张照片，因此丢失旧照片可能没有人们联想到旧照片时那么悲伤。摄影师会试图将观众从一种不确定的立场吸引到另一种确定的立场，这样做可能会产生一种伪参与的感觉，但与怀旧联系在一起就不是这样了。摄影师通过使用不同的表现框架，也许能够吸引观众从更坚定的情感来观看照片。这只适用于摄影师提出的一些问题，可能与一个更集体的良知，如世界贫困，一些伟大的个人的死亡等(威廉姆森，2014;Armitage等，1982)。
英文论文代写：照片记录的时代
These photographs have been highly touched with focus on the face of the individual(s) that so much of the context and background was missing. Some photographs I had a hard time situating them. They did not evoke that feeling of nostalgia that I gain when looking at an old photograph with childhood friends. It is either the age of the photograph or the way that modern photographs are treated, which seems to make this rendition of nostalgia incomprehensible. Frampton is able to connect with his photographs. He is nonchalant about his connections and his voice seems to drone on, and he is neither excited nor worried as the photograph burns. Although, the way he connects to his past and presents them as nostalgia, the feeling or the emotions related to nostalgia are missing (Niemeyer, 2014). I believe the Frampton must have done this purposefully in order to show what nostalgia is. When one sees their old photograph being destroyed or burnt then would feel for it at such a level, even if there were some extra prints available somewhere (Assuming Frampton would definitely have had extra prints of the photographs he was burning).
英文论文代写：照片记录的时代
I would feel those extra emotions, and I know I would probably feel sad and depressed if I was to lose some of the photographs of my family, friends and life from the past. However, when one considers the more recent photography, it might not be of much consequence if that photograph was there or not. Losing such a photograph by accidentally deleting it or losing the photograph by accidentally modifying it, so as to lose the old copy might not have as much of the grief that one would associate with an older photograph.Photographers would attempt to reel in the viewer from a non-committal stance to a committal stance and in doing so might create a sense of pseudo-participation, but this would not be true in association with nostalgia. The photographer by using different frames of representation might be able to reel in the audience to view the photograph from a more committed sentiment. This applies only when the photographer is presenting some issue that might be connected to a more collective conscience such as world poverty, the death of some great individual etc (Williamson, 2014; Armitage et al, 1982).
