后现代语境下的电影身体  

Film Body in Postmodern Context

作　　者：蓝凡[1] 

机构地区：[1]上海大学上海电影学院,上海200072

出　　处：《艺术百家》2017年第3期72-78,共7页Hundred Schools In Arts

基　　金：上海大学电影学高峰学科阶段性成果之一.

摘　　要：后现代语境下的电影身体指的是后人类—后现代身体在电影中的展现。伴随人类科技进步,必定要面对人类自身的"肉"的存在的思考:身体的适应性与存活性——如何使肉身更长久和舒适地生存。电影运用其得天独厚的影像技术和"眼见为实"的审美吸引力,将我们现在的这种愿望"变成"了银幕上的现实:电影正以其强大的影像力量,训练、铸造和改变着我们的后人类—后现代身体的审美习惯,展现着人类在这方面从来也没有过的感觉经验。随着技术的发展,从电影《大都市》到《机械公敌》的变化,说明了人类肉身的异化已经"聚焦"在人类身体的自身"焦虑"上。对电影来说,再数字化的身体终究是电影的身体,是要走进影院,被用来消费的,尤其是女性机器人的身体。这是非人身体的消费学,非"肉身"的影像身体成为观者的消费品的消费学——一种能产生欲望的等价交换的商品消费学。但这也是后身体消费的悖性所在,也是电影后身体的消费哲学。所以,后身体还是人的身体,是人类文化积累的身体,如果离开了人的概念,后身体就真正成了"无身体"。Film body in postmodern context refers to the development of post - human - postmodern body in film. As the advancement of human science and technology, there is a must to think over the human body, including the adap- tation and survivability of body and how could body survive longer and more comfortable. Film uses its peculiar image technology and aesthetic appeal to actualize such a wish to appear on screen. Film just uses its image power to train, forge, and change the aesthetic habit of our post - human - postmodern body, and to reveal some dift-rent feeling ex- periences. As the rapid development of human technology, from ＂ Metropolitan＂ to ＂ l, Robot＂ illustrates that the al- ienation of human body has already been focused on the anxiety of human body. To film, digitalized body is a film body on earth, and it must enter into the cinema and be consumed at last, especially the body of female robot. This is non -human consumption. Non -body images becomes the audiences＇consumption goods. It could also inspire de- sire. However, this is the paradox of post - body consumption and also the consumption philosophy of post - body of the film. Therefore, post - body is still the body of human and the body of human civilization. Post - body will truly become non - body without the conception of human.

关 键 词：电影艺术 后现代身体 电影身体 非人身体消费学 消费哲学 

分 类 号：J90[艺术—电影电视艺术]