垂直影像:媒介考古、银幕动力学与新媒体的语言  

Vertical Image: Media Archaeology, Screen Dynamics and the Lan guage of New Media

作　　者：赵宜[1] 张文毓 Zhao Yi;Zhang Wenyu

机构地区：[1]上海师范大学影视传媒学院

出　　处：《电影理论研究（中英文）》2022年第4期11-22,共12页Journal of Film Studies

基　　金：国家社科基金艺术学一般项目“中国影视艺术的媒介融合、技术迭代与产业未来研究”的阶段性成果(批准号:19BC031);上海高水平地方高校创新团队——上海戏剧学院“影视学科三项核心能力建设创新团队”的阶段性成果。

摘　　要：垂直影像的叙事和美学的可能性在短视频等日常影像生产中日益受到重视,但对垂直影像语言的探索还缺乏稳定的理论视野,由此展开的实践活动则缺乏核心问题意识。本文在文化工业批判和媒介考古学的框架下,对水平“标准”银幕的历史进行回溯,考察银幕边框和屏幕比例对电影语言惯例的建构关系,重估经典电影语言的当下价值;通过探寻被主流叙事遮蔽的“另类”影像实践,挖掘新媒介文化的潜在基因,并将新媒介技术语境下的垂直影像置于计算机叙事逻辑和数据库文化的理解范畴。垂直影像的意义和实践方向不是成为水平银幕影像的叙事补充,而是新媒介影像文化对银幕绝对比例与屏幕技术边界发起的冲击。The narrative and aesthetic possibilities of vertical images are increasingly valued in daily video pro-duction such as short videos.However,the exploration of the language of vertical images still lacks a stable theoretical vision,and the extensive practice carried out from this lacks awareness of core issues.Under the framework of cultural industry critique and media archaeology,this paper reviews the history of horizontal"standard"screens,examines the relationship between screen frame and screen ratio and film language con-ventions,and reassesses the current value of classic film language;through the exploration of the"alternative"video practice obscured by the mainstream narrative,the potential genes of the new media culture are ex-plored,and the vertical video in the context of the new media technology is placed in the comprehension cat-egory of computer narrative logic and database culture.The meaning and practical direction of vertical images are not to be the opposite of horizontal screen images,but the impact of new media image culture on the ab-solute proportions of the screen and the boundaries of screen technology.

关 键 词：垂直影像 竖屏电影 新媒介 数据库电影 

分 类 号：G206[文化科学—传播学] J905[艺术—电影电视艺术]