虚拟影像:中国早期电影媒介考古  

Virtual Image: Media Archeology of Early Chinese Film History

作　　者：唐宏峰[1] 

机构地区：[1]北京师范大学艺术与传媒学院

出　　处：《电影艺术》2018年第3期3-10,共8页Film Art

摘　　要：本文集中对晚清上海的幻灯与电影放映进行考察,通过大量报刊资料,仔细分析放映情况与观众的感官接受。本文对现代虚拟影像的考察,体现出媒介考古学的独特性,它打破线性史观,将媒介历史空间化,将媒介文化的新与旧、过去与现代并置压缩在一起,将媒介发展理解为一种再媒介,在历史地层沉积的缝隙中打捞同属于过去、现在与未来的可能性。The study makes a survey of magic lantern and cinema screening in late Qing Shanghaito to analyze the audience＇s receptions by going through lots of newspapers, and suggests that both of them were popular visual entertainments and provided similar visual and other sensory experiences to their audience at that time. Lantern, photography and cinema share a common nature of virtual image, which is the virtuality without material and ＂the presence of an absence＂. Virtual images deterritorialize the shadow from objects and bring its audience the passion of perceptions caused by dialectics between reality and illusion. Chinese audience had keen perception of shadow＇s virtuality and deterritorialization because of their predecessor＇s traditional optical knowledge and practices and abundant shadow apparatus. Media archeology violates liner history by juxtaposing the new and the old, the past and the present media culture together, and understands the development of media as remediation, thus refloating multiple possibilities of past, present and future.

关 键 词：虚拟影像 媒介考古学 脱域 缺席的在场 视觉性 再媒介 

分 类 号：J909.2[艺术—电影电视艺术] TP391.9[自动化与计算机技术—计算机应用技术]