“陌生”与“共情”——二元统一下的动画沉浸感探究  

"Defam: liarization" and "Empathy" : An Inquiry into the Immersion of Animation under Dualistic Unity

作　　者：韩栩[1] HAN Xu(School of Media,Nanjing University of the Arts,Nanjing,Jiangsu 210013)

机构地区：[1]南京艺术学院传媒学院动画系,江苏南京210013

出　　处：《艺术百家》2020年第6期184-189,共6页Hundred Schools In Arts

摘　　要：动画作为具有叙事涵蕴的艺术语言形态,在审美活动中能够产生沉浸性的体验。从艺术真实性的角度分析,虽然动画在视觉画像、内在结构文本以及美学追求等方面都具有“陌生化”的属性,但是在叙事文本的推进过程中,依靠强烈的精神模拟,与观众一起构建起共性心理基础,并且实现互文关系中的情感指代,从而促使受众产生“共情”。因此,动画的沉浸性体验包含着“陌生”与“共情”二元属性既对立又统一的关系:观众在虚拟次元内体验真实情感的冲击;在影像技术革新的进程中,二元对立的樊篱也逐步瓦解;并且随着大众审美的变化,动画的艺术观念也在不断发展、调整以适应更多沉浸体验的需要。Animation,as an artistic language form with narrative connotation,can produce immersive experience in aesthetic activities. From the point of view of artistic authenticity,although animation has the attribute of " defamiliarization" in visual portrait,internal structure text and aesthetic pursuit,in the process of advancing narrative text,it relies on strong spiritual simulation to construct the common psychological foundation with the audience,and realizes the emotional reference in the intertextual relationship,thus prompting the audience to produce " empathy ". Therefore,the immersive experience of animation contains the opposite and unified relationship between the dual attributes of " strange" and " empathy " : the audience experiences the impact of real emotion in the virtual dimension;in the process of image technology innovation,the barriers of binary opposition gradually disintegrate;And with the change of popular aesthetics,the artistic concept of animation is constantly developing and adjusting to meet the needs of more immersive experience.

关 键 词：陌生 共情 沉浸感 动画设计 动画情境 

分 类 号：J50[艺术—艺术设计]