歧感的消散与数字电影的“反艺术”趋向  

The Dissipation of Ambiguity and the Anti-Art Trend of Digital Cinema

作　　者：谢建华 Xie Jianhua

机构地区：[1]四川师范大学影视与传媒学院

出　　处：《电影艺术》2024年第3期62-69,共8页Film Art

摘　　要：定义艺术的关键变量中存在一种不确定性趋力,艺术自发生时就遵循一种模棱两可的哲学。现代理论对古典电影的推崇,同样建立在歧感的生产力判断之上,批评家的阐释活动预设了影片在美学上的不透明属性。但近年以来,视觉的精度模拟和观看的透明倾向逐渐成为创作的优先目标,技术重新配置了观看主体,数字电影审美结构的加速聚焦,正在动摇定义电影的美学根基。电影正无可挽回地走向“反艺术”,电影研究必须在此基础上更新知识体系和观念方法。There is a tendency of uncertainty in defining art.Art follows the philosophy of ambiguity from its beginning.The admiration of classical films in modern film theory is also based on the productive nature of ambiguity,and the interpretation of critics presupposes the aesthetic opacity of films.However,in recent years,visual accuracy simulation and the viewing tendency towards transparency have gradually become the priority of filmmaking.Technology has reconfigured the viewing subject,and it challenges the aesthetic foundation that defines cinema.Digital cinema irreversibly acquires the nature of antiart,rendering film research must update its knowledge system and conceptual methods on this basis.

关 键 词：数字电影 歧感美学 不确定性 反艺术 

分 类 号：J905[艺术—电影电视艺术]