Cultivation of Visual Literacy

The Power of Image Narration is an encyclopedia of image narrative skills. Starting from cave murals, the author Bo Gu Golden Boy traces the development and evolution of words and images in thought expression and interpersonal communication through Gutenberg, Edison and Hitchcock. The author also explores the frontier scientific field of "film neurology" with great interest, and convincingly shows the readers the power of image narration. Based on more than ten years' experience in image education, the author admits to us that the acquisition of "image language" is a process of deliberate practice, and only through constant thinking and practice can image technology finally be transformed into our "visual literacy".

In the book, the author puts forward a suggestion worthy of discussion: "In the 2 1 century, every public high school student can only be allowed to graduate if he has mastered the following skills:

(1) Be able to write scripts for video clips;

(2) Being able to shoot coherent videos with correct expression elements;

(3) Being able to edit videos from original materials and effectively express their views;

(4) Being able to master communication channels including the Internet;

(5) Being able to critically understand and construct visual media. "

The author puts forward the concept of visual literacy. "Visual expression is rising inexorably as a way to spread the truth, so readers and viewers need to have new discriminating ability: they should combine skepticism and keen judgment to evaluate the value of ideas expressed in images instead of evaluating the value of oral arguments." In fact, it is very demanding for the audience of the video.

? In the final analysis, "visual literacy" is also a kind of "literacy" and needs to be cultivated. Take movies for example. On the big screen, the audience likes family movies with big scenes, many special effects and clear plots. Only fans will seriously study the lens language. Similarly, will the video on the video website be solidified because of the audience's values, or even strengthen the audience's inherent concepts? When watching video becomes a habit, that is, a relatively passive experience with low participation, will the audience lose the ability to think actively?

? From this perspective, can video production, as a standard for students to graduate, play a role in cultivating "visual literacy"? It is worth discussing. Unfortunately, the author didn't say it. It is true that streaming media is becoming more and more dynamic now, but it does not necessarily mean that the audience's appreciation and discrimination will be enhanced. I think this is a question that needs to be considered before waving the flag and shouting for a comprehensive promotion of video.