游戏的独立自主性与技术功利性的美学矛盾——以《流浪地球2》《三体》影视化改编为例  

作　　者：杜钊远 焦仕刚[2] 

机构地区：[1]广西艺术学院人文学院 [2]广西艺术学院影视传媒学院

出　　处：《北京文化创意》2023年第4期24-30,共7页Beijing Culture Creativity

摘　　要：2022年末以来,随着由《流浪地球2》《三体》改编的影视作品面世,中国科幻文艺的产出初显声势。然而,科幻题材背后的技术功利性与文艺作品的无功利趋势却矛盾凸显,形成了美学意义上的冲突。而游戏,作为一种历史久远、不断发展的文化现象,契合科幻文艺特性的同时,又保持着独立自主性,能够同时进入技术哲学与艺术美学的语境,成为有效转译信息的中介,以期构建可供对话、缓解美学冲突的平台。当科幻文艺背后的精神指向借助游戏现象的理论,介入、分析并找寻新的方向时,便有助于解决中国当代科幻文艺由美学冲突而展露的内在矛盾。Since the end of 2022,the production of Chinese science fiction literature and art has shown some momentum with the release of flm and television adaptations such as"Wandering Earth 2"and"Three-Body"However,the contradiction between the utilitarian nature of technology behind science fiction themes and the non utilitarian trend of literary and artistic works is prominent.Digital games,as a cultural phenomenon of humanity since ancient times,align with the characteristics of science fiction and literature while maintaining independence and autonomy.They can simultaneously enter the context of technological philosophy and artistic aesthetics,becoming an effective intermediary to construct systems for translating information.Therefore,the spiritual direction behind science fiction literature and art requires the theoretical intervention and analysis of game phenomena to find new methods,in order to solve the internal contradictions revealed by the adaptation of contemporary Chinese science fiction aesthetics from film and television.

关 键 词：科幻 文艺 游戏美学 

分 类 号：I20[文学—中国文学]