消失的影像:重思数字电影的数字性  

The Disappearance of Images:Rethinking the Digital Nature of Digital Films

作　　者：姜宇辉[1] JIANG Yuhui(School of Politics and International Relations,East China Normal University,Shanghai 200241,China)

机构地区：[1]华东师范大学政治与国际关系学院,上海200241

出　　处：《上海大学学报（社会科学版）》2023年第6期15-26,共12页Journal of Shanghai University(Social Sciences Edition)

基　　金：国家社会科学基金艺术学项目(21BA025)。

摘　　要：数字技术正在令现实消失,这或许是当今时代的一个典型趋势。面对这种绝对而被动的消失,维利里奥和鲍德里亚不约而同地以相对而内在的主动消失的策略来对抗。但这些策略最终皆陷入僵局,尤其难以回应主体之消失这个根本困境。由此,他们文本中暗示出的第三种消失即绝对否定似乎显示出某种解脱的可能。从计算主义到内在批判,从融合视效到分离影像,数字电影的种种手法似乎也展现出这三种消失的面向。经由对数字电影的数字性的深入剖析,不仅得以对数字技术和数字社会的本性获得更深入的认识,还能够探寻在一个数字宇宙之中重建主体性的途径和希望。The reality is disappearing as a result of digital technology.This may be a typical trend in today’s era.In the face of this absolute and passive disappearance,Paul Virilio and Jean Baudrillard invariably came up with strategies of relative,immanent and active disappearance.However,these strategies ultimately came to a dead end,primarily due to their failure to respond to the fundamental dilemma of the subject disappearance.Thus,the third kind of disappearance implied in their texts--absolute negativity,seems to actually suggest the possibility of certain liberation.From Computationalism to immanent critique,from the fusion of visual effects to separation of images,various techniques of digital films seem to testify the three dimensions of disappearance.An in-depth analysis of the digital nature of digital films not only brings about a deeper understanding of the nature of digital technologies and digital society,but also sheds light on the means and hope of rebuilding subjectivity in a digital universe.

关 键 词：消失 绝对否定 计算主义 反—计算 主体性 分离 

分 类 号：J90-02[艺术—电影电视艺术]