作为策略的劣质影像:叙事功用与权力机制  

Poor Images as Strategies:Narrative Functions and Power Systems

作　　者：赵轩 ZHAO Xuan(School of Media and Film and Television,Jimngsu Normal University,Xuzhou 221000,China)

机构地区：[1]江苏师范大学传媒与影视学院,江苏徐州221000

出　　处：《编辑之友》2023年第5期71-76,101,共7页Editorial Friend

基　　金：江苏师范大学博士学位教师科研支持项目“‘全球化’视阈下华语电影叙事范式与现实主义路径研究”(19XFRX024)。

摘　　要：劣质影像并非一种本质主义的界定,而是在不同时代、不同媒介主导的传播语境中的间性生成。即在屏幕的可通约性的作用下,影像在跨屏传播的过程中呈现出的不可通约的残余。其跨越了影像的胶片、录像和数字时代,呈现出清晰性、精准性、即时性三方面的质地亏缺。基于关乎媒介的普遍记忆,劣质影像被优质电影征用,以达成真实、怀旧、悬念以及自体式反思等方面的叙事功用,在其被征用的过程中,投射出多方面的权力规训。经由记忆治理,劣质影像本体论上的意义最终将被价值论上的功用考量所取代。Poor images are not a definition of essentialism,but rather inter-subjectivity in different times and media dominated communication contexts,which means,under the influence of screen commensurability,the image presents a residue of non-commensurability in the process of cross screen transmission.It spans the film,video,and digital era of images,and presents a lack of clarity,accuracy,and timeliness.Based on the universal memory related to media,poor images are requisitioned by high-quality films to achieve narrative functions such as authenticity,nostalgia,suspense and self-reflection.In the process of their requisition,they reflect multiple power discipEnes.Through memory governance,the ontological meaning of poor images will eventually be replaced by fiinctional considerations in axiology.

关 键 词：劣质影像 关乎媒介的普遍记忆 真实性的悖论 记忆治理 

分 类 号：G206[文化科学—传播学]