数字电影的“超级真实主义”美学探索  

When the Film Was Dead:Aesthetical Studies of the“Hyper-Realism”in Digital Cinema

作　　者：陈亦水[1] Chen Yishui

机构地区：[1]北京师范大学艺术与传媒学院

出　　处：《电影艺术》2021年第1期82-89,共8页Film Art

基　　金：2018年度国家社科基金艺术学重大项目“中国数字新媒体艺术创新研究”(项目号:18ZD12)阶段性研究成果。

摘　　要：21世纪以来,经过整整二十年新媒体技术对电影的数字化改造,电影艺术经由计算机算法变成了一种自动化艺术装置。如今,算法生成的虚拟影像以独属数字电影的"超级真实主义"美学特征重塑了艺术真实。数字电影以超越人类身体感官局限、独立再造现实的方式,自发地回答了"电影/自己是什么"这一经典命题。本文通过对"超级真实主义"美学起源、形态路径和政治表达的研究,探索数字电影现状与未来,反思中国电影艺术观、技术观、生命观及文化表达问题。Since the 21 st century,after two decades of digital transformation of the film by new media technology,the film art has become an automatic installation through computerized algorithms.Nowadays,the virtual image generated by the algorithm remakes the artistic reality with the aesthetic characteristics of"hyper-realism"which belongs to the digital cinema alone.After the abolition of film material media,digital cinema spontaneously answers the classic question of"what is cinema/oneself?"in a way that transcends the limitations of human body senses.By studying the aesthetic origin,paths and political expression of"hyper-realism",this paper explores the current situation and future development of digital cinema and aims at rethinking the artistic concept,technical viewpoint,life outlook and cultural expression in Chinese digital cinema.

关 键 词：数字美学 电影美学 照相写实主义 超级真实主义 虚拟现实 

分 类 号：J901[艺术—电影电视艺术]