STEMM Institute Press
Science, Technology, Engineering, Management and Medicine
The Role and Popularization Practice of Mobile Phone Photography in College Students' Aesthetic Education
DOI: https://doi.org/10.62517/jhet.202515246
Author(s)
Zhihao Li*, Chenhui Sun, Yifan Hu, Chao Wang, Xinyu Zhang
Affiliation(s)
School of Art and Design, Henan University of Science and Technology, Luoyang, Henan, China Corresponding Author.
Abstract
Teaching the knowledge of mobile photography and promoting the practice of mobile photography in photography courses can facilitate the popularization of photography knowledge among college students and enhance the effectiveness of aesthetic education in universities. Demonstrate the artistic characteristics of mobile photography through teaching videos. Focus on the key knowledge points of mobile photography for college students’ daily shooting and creation. Make a series of teaching videos "Playing Mobile Photography at Henan University of Science and Technology" to popularize the knowledge of mobile photography for college students. In daily life, mobile photography builds a unique creative and aesthetic platform for college students, which can not only cultivate everyone's aesthetic awareness, enrich aesthetic experience, but also inspire innovative inspiration. Therefore, promoting mobile photography is an effective and important way to popularize college aesthetic education and improve college students' aesthetic education literacy.
Keywords
Mobile Photography; College Students; Aesthetic Education; Aesthetic Ability
References
[1] Jianxin Chen. Research on Innovative Models of Photography Education in Higher Education under. International Journal of New Developments in Education.2024, Issue 6, P174-180. [2] Sarah Edge (2009) PHOTOGRAPHY, HIGHER EDUCATION AND THE SKILLS AGENDA. Photographies, 2:2, 203-214, DOI: 10.1080/17540760903116663 [3] Kamalvand and Khany (2024) Development and validation of an English teachers' visual literacy scale for smartphone photography grounded in social semiotic theory, Language Testing in Asia, https://doi.org/10.1186/s40468-024-00307-y [4] Qinghua Tang. Analysis of the value and photographic methods of mobile phone photography. Cultural Industry, 2020, (35): 83-84. [5] Fangquan Liu. Analysis of "Double Innovation" Educational Reform Strategy of Film and Television Photography and Production Major in Media Era Universities. Communication and Copyright. 2023, Issue 24. [6] Jian Yu, Sun Mengru. Analysis of the communication effect and problems of mobile phone photography in social media. Modern Communication (Journal of Communication University of China), 2016, 38 (03): 133-136. [7] Sarah Bay-Cheng (2017) Pixelated Memories: Performance, Media, and Digital Technology, Contemporary Theatre Review, 27:3, 324-339, DOI: 10.1080/10486801.2017.1343242 [8] Daniel Rubinstein & Katrina Sluis (2008) A LIFE MORE PHOTOGRAPHIC, Photographies, 1:1, 9-28, DOI: 10.1080/17540760701785842 [9] Katsampoxaki-Hodgetts, K. (2024). Graphical abstracts' pedagogical implications: Skills & challenges in visual remediation. English for Specific Purposes, 73, 141–155. https://doi.org/10.1016/j.esp.2023.10.006 [10] Min Wang. Research on the influence of mobile phone photography on photography teaching. Beauty and Times (1), 2020, (06): 68-70. [11] Digital Britain: Interim Report, Jan. 2009, Department for Culture, Media and Sport and Department for Business Enterprise and Regulatory Reform: Section 5.1 Education and Skills.
Copyright @ 2020-2035 STEMM Institute Press All Rights Reserved