作为共同体的“想象力消费”与现实逻辑  

Imagination Consumption as a Community and Its Realistic Logic

作　　者：薛精华 XUE Jinghua(School of Arts,Peking University,Beijing 100871)

机构地区：[1]北京大学艺术学院,北京100871

出　　处：《文化艺术研究》2022年第5期103-110,116,共9页Studies in Culture and Art

基　　金：国家社科基金艺术学重大项目招标课题“影视剧与游戏融合发展及审美趋势研究”(项目编号:18ZD13)的阶段性成果。

摘　　要：想象力电影以虚拟性为重要特征,但其美学特征长久以来受到现实生活经验的制约,同时也被动或主动地反映着现实生活中的文化意识形态。故事世界设定、想象性空间打造及虚拟形象设计等都蕴含着丰富的现实逻辑与细节,从而使想象力美学得以成立。此外,想象力电影对传统神话资源的利用、对民族艺术美学的传承以及对现实议题的隐喻与触碰,也是想象力消费遵循现实逻辑的表现。现实逻辑正在成为想象力电影实现本土化和在地化创作的关键手段,也将成为中国想象力美学不可或缺的组成部分。Speculative films are characterized by its virtual nature,yet their aesthetics are constrained by real-life experiences and are passively or actively reflecting the cultural ideologies in reality.Processes such as worldbuilding,imaginary space construction,and character design all contains rich,realistic logic and details,making imagination aesthetics possible.In addition,the use of traditional mythology,the inheritance of national aesthetics,and the touch on realistic issues by speculative films are all manifestations of the realistic logic of imagination consumption.The realistic logic is becoming the key to the nativization and localization of speculative films and an indispensable part of Chinese imagination aesthetics.

关 键 词：想象力消费 现实逻辑 科幻电影 奇幻电影 

分 类 号：J905[艺术—电影电视艺术]