数字虚拟影像:消费文化视野下的美学反思  

Digital Virtual Images: An Aesthetic Reflection in Consumer Culture Horizon

作　　者：许苏[1] 徐桂林[1] 李浙瑶[1] 

机构地区：[1]井冈山大学人文学院,江西吉安343009

出　　处：《井冈山大学学报（社会科学版）》2013年第6期114-119,131,共7页Journal of Jinggangshan University(Social Sciences)

摘　　要：消费主义是社会时代语境最重要的文化症候。伴随人类的艺术审美不断向视觉转向,以高科技为背景的数字影像开始崛起,它所带来的美学嬗变本身蕴含着双重悖论,一方面它为电影观众提供充满想象的梦幻生产和奇观体验,另一方面源于技术崇拜的工具理性又制造了远离真实的审美陷阱。人们对数字影像的消费见证了电影工业的商业本性,然而,数字技术的发展并不意味着电影美学之死,我们既要对数字技术带来的审美弊端有所正视,更要在科技与人文之间重建平衡,从而让数字技术更好地服务于影像美学的超越和创新。Consumerism is the most important cultural syndrome of the society today. With the shift of people＇s artistic aesthetics toward visual appreciation, digital images supported by high technology gains its increasing prevalence. The aesthetic evolution result therefrom is entangled with double paradoxes.On the on hand, it provides audiences with imaginary dreamy production and spectacular experiences,on the other hand its instrumental rationality, inherent from its technological worship, results in an aesthetic trap that keeps the reality away. The consumption of digital image witnesses the commercial nature of movie industry, but the development of digital technology does not mean death of movie aesthetics. It is necessary that we, in awareness of the abuses from digital technology, rebuild balance between technology and humanity, so as to lead digital technology to better service for image aesthetic innovations.

关 键 词：数字虚拟影像 消费文化 美学反思 

分 类 号：J93[艺术—电影电视艺术]