平躺的影像:新媒体语境中的电影艺术  

Lying Image: the Art of Film in the Context of New Media

作　　者：刘景福[1] 黄鸣奋[1] 

机构地区：[1]厦门大学人文学院,福建厦门361005

出　　处：《厦门大学学报（哲学社会科学版）》2013年第2期116-122,共7页Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)

基　　金：国家社会科学基金重点项目"西方数码艺术理论六十年"(09AA001)

摘　　要：新媒体技术支持下的电影屏幕朝两极发展,一是如IMAX这样能给人以视听震撼的巨型银幕,另一是如智能手机这般小巧灵活的微型视窗。就后者而言,影像由以往影院中高大的竖立状变成掌上媒体的微小平躺状。新媒体所导致的影像平躺,指的不仅是外观视觉效果,同时也是电影可操控、去层级化等深刻内涵的隐喻。记录载体的丰富、观影媒介的拓展、技术水平的提升,促使影像"躺"下来了;碎片化、块茎状、个性化、交互性,致使影像"躺"得与经典时代不一样;艺术灵光的消逝、社交功能的凸显、人际关系的变化、万众拼贴的狂欢,使得"躺"下来的影像具备新的美学意义。With the development of new media technology, the screen of film develops toward two poles. One is big like IMAX, and the other is small as cell-phone. In terms of the latter, image changes from the upright form to the lying, which is not only the superficial visual effects, but also has profound connotation of being flat, anti-hierarchical and manipulated. What makes the image lying down are the richness of recording carrier, expansion of viewing media and promotion of technology. Differing from the classic movies, fragmentation, tuberosity, personalization, interactivity are the characteristics of the lying image. It has a new aesthetic meaning because of the disappearance of aura, prominent function of social interaction, revelry of people＇ s collage and the changing of interpersonal relationship etc.

关 键 词：平躺的影像 新媒体 电影 

分 类 号：J901[艺术—电影电视艺术]