被数字视觉化了的世界:虚拟制作时代电影的身份危机  

Digital Visualized World: Film Identify Crisis in Virtual Production Era

作　　者：孙承健[1] Sun Chengjian

机构地区：[1]中国艺术研究院电影电视研究所

出　　处：《电影艺术》2021年第5期128-135,共8页Film Art

摘　　要：当电影不再是"照相式逼真影像",基于索引性的影像指涉,也不再有具体所指之物的话,将如何定义电影?当下正在发生的数字技术革命,通过物数据化与数据物化的过程,整个世界都被数字视觉化了。虚拟制作技术在电影与影像的跨媒介叙事中的广泛运用,正在对电影的镜头语言、美学范式,甚至产业建构产生根本性影响。从再现性到创构性,虚拟制作的技术目标与美学追求,并不是要消解电影再现现实的艺术功能,而是要达到增强现实,甚或是超现实的艺术功效。When the film is no longer “Photo-realistic Image”, based on indexicality image reference, there is no longer a specific referent in reality, then how will we define the film? The digital technology revolution that is taking place nowadays has made the entire world digitally visualized through the process of digitalization and digital materialization. The widespread use of virtual production technology in films and “transmedia storytelling” of image is having a fundamental impact on the camera language, aesthetic paradigm, and even the construction of the film industry. From representation to creativity, the technical and aesthetic pursuits of virtual production are to achieve the artistic effect through augmented reality even surreality, without eliminate the traditional artistic function of films to reproduce reality.

关 键 词：虚拟制作技术 数字资产开发 再现性与创构性 

分 类 号：J91[艺术—电影电视艺术]