画框意识:一种视觉媒介要素的历时性演进  

Frame Consciousness: a Diachronic Evolution of Visual Media Elements

作　　者：张强[1] 胡彬 ZHANG Qiang;HU Bin(Longyan University,Longyan,Fujian 364000,China)

机构地区：[1]龙岩学院,福建龙岩364000

出　　处：《龙岩学院学报》2024年第3期86-91,共6页Journal of Longyan University

摘　　要：边界意识伴随着视觉艺术的成熟而来,它以种种不同的画框形式统治了视觉艺术的历史。理所当然地,物质性画框的普遍存在催生了创作中的画框意识。这种画框意识影响到了从传统绘画到先锋视觉艺术的整个历史过程,同时,也将摄影术、电影和电子游戏纳入到画框意识的话语体系中。从绘画到电子游戏,画框形式从静态演变为动态,而电子游戏则发展出了一套相当复杂且灵活的画框形式。这套画框形式丰富了画框意识的内涵,打破了传统画框结构的封闭性,呈现出了“低张力”的结构特点,而这种画框结构的形成则应归因于电子游戏的互动性本质。Boundary consciousness comes with the maturity of visual art.It has dominated the history of visual art in its many different frame forms.Naturally,the universal existence of the material frame has spawned the frame consciousness in the creation.This frame consciousness has influenced the whole process from traditional painting to avant-garde visual art,while also incorporating photography,film and video games into the discourse system of frame consciousness.Further,from paintings to video games,the visual frame form has shifted from static to dynamic,and video games have developed a fairly complex and flexible frame form.This set of frame forms enriches the connotation of the frame consciousness,breaks the closure of the traditional frame structure,and presents the structural characteristics of“low tension”,which should be attributed to the interactive nature of video games.

关 键 词：边界 画框意识 电子游戏 视觉媒介 

分 类 号：J061[艺术—艺术理论] G206[文化科学—传播学]