3D电影:审美经验的知觉现象学变革  

3D Movies:Transformations in the Phenomenology of Perception in Terms of Aesthetic Experience

作　　者：曾胜[1] 王娟萍[2] 

机构地区：[1]浙江传媒学院文学院 [2]浙江金融职业学院国际商务系

出　　处：《浙江传媒学院学报》2016年第2期98-102,154,共5页Journal of Zhejiang University of Media & Communications

摘　　要：梅洛-庞蒂的知觉现象学强调人的行为环境,主张以身体意向性取代传统的意识意向性,人通过身体知觉把握世界,从而克服身心之间的二元对立矛盾。知觉现象学与数字美学之间存有一种紧密的对应关系,能够深入揭示由数字技术引发的审美经验变革。3D电影最突出的审美经验就是通过身体进行"审美介入",受众的知觉置于理性与经验两种秩序的相交处,从而以一种知觉现象学的审美经验取代传统的无功利审美,实现电影审美经验的统一。Merleau-Ponty's phenomenology of perception emphasizes the behavioral environment of the individual, advo-cating the substitution of the traditionalintentionality of consciousnessbybodily intentionality, which provides an understanding of the world through physical perception, so as to overcome the binary opposition between body andsoul. There is a close correspondence between the phenomenology of perception and digital aesthetics, which canbring insights into the innovations of the aesthetic experience ignited by digital technology. The most prominent aesthetic experience of 3D movies is the ' aesthetic involvement' of the body, which places the audience in an intersection between reason and experience, so that the aesthetic experience of consciousness phenomenology replacestraditional unutilitarian aesthetics, thus realizing the unity of a film's aesthetic experience.

关 键 词：3D电影 梅洛-庞蒂 知觉现象学 审美经验 

分 类 号：J967[艺术—电影电视艺术]