“童年阴影”诗学的跨媒介生成研究  

A Study on the Cross-Media Generation of the Poetics of″Childhood Trauma″

作　　者：王新 田书博 WANG Xin;TIAN Shubo(School of Literature,Yunnan University,Kunming,Yunnan 650091,China)

机构地区：[1]云南大学文学院,云南昆明650091

出　　处：《广州大学学报（社会科学版）》2024年第1期140-151,共12页Journal of Guangzhou University:Social Science Edition

基　　金：国家社会科学基金艺术学一般项目(20BH141)。

摘　　要：“童年阴影”动画片具有另类、猎奇的审美特点,在形象、配乐和故事层面引发儿童观众的恐惧。80后、90后观众时隔多年,把这些作品从电视荧屏分享到弹幕视频网站,并以网络青年亚文化的反叛态度、解构语言对童年视觉经验进行重构,消解童年恐惧,青年的现实生存焦虑得到短暂缓释。在这一过程中,“童年阴影”诗学的丰富内涵得以生成。从视觉污染角度看,一些“童年阴影”动画片的视听形式,由于不符合儿童审美心理和认知水平,造成负面身心困扰。避免儿童动画片视觉污染的产生,既需要发挥生产、传播、监管等环节的作用,也需要观众培养一双明澈而有教养的眼睛。The″Childhood Trauma″cartoons feature unconventional but novel aesthetic qualities,which can cause fear of children audience through images,soundtracks and plots.After many years,the post-80s and post-90s audience have transferred these works from TV screen to video websites with the bullet-screen function,and reconstructed the childhood visual experience with the rebellious attitude and deconstruction language of the online youth subculture to dispel the childhood fears,and the survival anxiety of youth in real life is temporarily released.Hence the rich connotations of the poetics of″Childhood Trauma″generates.From the perspective of visual pollution,the audio-visual forms of some″Childhood Trauma″cartoons do not accord with children's aesthetic preference and cognitive level,resulting in negative physical and mental distress of them.To avoid the visual pollution of cartoons for children,we not only need production,dissemination,and supervision to better play their roles,but also need the audience to develop a pair of pure and educated eyes for themselves.

关 键 词：“童年阴影”诗学 公共情感 跨媒介 弹幕互动 视觉污染 

分 类 号：C05[社会学]