3D数字技术时期电影表演的嬗变  

The Transformation of Film Performance in the Era of 3D Technology

作　　者：王雪璞 WANG Xuepu(China-Korea Institute of New Media,Zhongnan University of Economics and Law,Wuhan 430074)

机构地区：[1]中南财经政法大学中韩新媒体学院,武汉430074

出　　处：《文化艺术研究》2022年第6期104-110,116,共8页Studies in Culture and Art

摘　　要：电影作为现代科技的产物,随着科学技术的不断发展,其形态与本质也如“忒修斯之船”一般悄然改变。在数字技术与电影相遇并逐渐主导电影创作的当下,电影表演作为电影艺术的重要组成部分,同样正在经历着一场关于本体论的再探索。本文主要以电影《双子杀手》为例,以唐·伊德的技术现象学为理论视角,从权力关系、电影本体、观演经验、表演伦理四个角度回答“何为3D数字时期电影表演”的问题。As a product of modern technology, the form and nature of film alters like the Ship of Theseus with the development of science and technology. At a time when technology confronts and gradually dominates film production, film performance, as an important part of the cinematic art, is exploring its ontology again.This article takes Ang Lee’s Gemini Man as an example and tries to answer the question "What is film performance in the era of 3D technology?" in terms of power relations, film ontology, moviegoing experience, and performance ethics from the perspective of Don Ihde’s post-phenomenological approach to technology.

关 键 词：3D数字技术 电影表演 观演经验 表演话语 表演伦理 

分 类 号：J912[艺术—电影电视艺术]