电影符号学、时空理论和虚拟现实符号学  

Semiology of Film, Space-time Theory,and the Semiotics of Virtual Reality

作　　者：柯岩·托玛瑟利 达米安·托玛瑟利 尹倩 Keyan G.TOMASELLI;Damien R.TOMASELLI;YIN Qian(University of Johannesburg,Johannesburg City,2146,South Africa;School of Humanities,Guangzhou University,Guangzhou 510006,China)

机构地区：[1]约翰内斯堡大学,约翰内斯堡市2146 [2]广州大学人文学院,广州510006

出　　处：《上海交通大学学报（哲学社会科学版）》2022年第4期146-159,共14页Journal of Shanghai Jiao tong University(Philosophy and Social Sciences)

摘　　要：文章提出一种全面的基于感官的符号学,以解释观众在虚拟现实(VR)投影设备实现的四维叙事中所操控的“交互式”选择。具体而言,文章提供了一种最广泛意义上的视觉成像的四维时空理论,并通过皮尔斯知觉理论进行解读,这一皮尔斯符号学方法在这里被扩展到包括将虚拟现实作为一种包罗万象的感官体验。一方面,从对模拟媒体(媒介、信息)和二维符号学电影理论的探讨入手;另一方面,重点观照四维的感官符号学。传统上,电影艺术家往往依赖于画家的视觉感受力、诗人的视觉观察力和有声语言,以及音乐家的时间感,因而电影的多义性使得符号学成为一种特别适合于二维电影分析的研究范式。然而,虚拟现实和增强现实(AR)等新媒体拓宽了“观众”的定义,即观众不仅是二维平面的“观者”,还成为了在图像、听觉和感觉的三维或更多的维度上观影的“参与者”,且这些维度看起来均是真实和有形的。因此,三元现象符号学解释将解释者包括在对故事的操纵中,从而与二维结构主义电影符号学形成对比。A comprehensive sensory-based semiotic is proposed to account for spectator-controlled“interactive”ludic choices within the four-dimensional narrative enabled by virtual reality projection devices.Specifically,the article offers a four-dimensional space-time theory of visual imaging in its widest sense,read through Peirceian phaneroscopy,a semiotic method that is here extended to include virtual reality as an all-embracing sensory experience.The analysis launches from a discussion of analogue media(medium,information)and two-dimensional semiological film theory,into a four-dimensional sensory semiotic.In defining the nature of the film image,many mid-to-late-1990s film theorists called on semiology,the study of narrative language-based sign systems that includes analysis of linguistic,para-linguistic and extra-linguistic forms of discourse.The polysemic nature of film makes semiology a particularly suitable method for two-dimensional film analysis,since the film artist relies on visual sensibility of the painter,the vision and verbal language of the poet and the time sense of the musician.Two-dimensional text-based semiological film theory examines how elements are organized for a spectator in terms of a screen surface,one that emphasizes the vertical and horizontal character of the picture plane,and that includes an impression of depth by means of perspective.The new media such as virtual reality and augmented reality,however,involve the spectator as participant,not just as viewer of a two-dimensional surface,but now within three or more dimensions of imaging,hearing and feeling,which appear real and tangible.Our triadic phenomenological semiotic explanation that includes the interpreter in the story manipulation is contrasted with two-dimensional structuralist film semiology.

关 键 词：虚拟现实 增强现实 交互媒体 时空 显象学 电影符号学 

分 类 号：TP391.9[自动化与计算机技术—计算机应用技术] J905[自动化与计算机技术—计算机科学与技术]