朝向界面:“后电影”时代的观演结构与交互逻辑转向  

Toward the Interface: Turning Toward Viewing Structures and Interactive Logic in the “Post-Cinema” Era

作　　者：王义仁 张智华[1] WANG Yi-ren;ZHANG Zhi-hua

机构地区：[1]北京师范大学艺术与传媒学院

出　　处：《河北学刊》2024年第4期132-140,共9页Hebei Academic Journal

摘　　要：后电影视觉指的是以计算机与互联网为表征的数字观影方式,它表现出当代视觉媒介发展的阶段性特征,呈现为一种泛媒介化的视听景观。媒介生态的数字化进程将电影的观影环境置于以界面为主体的权利结构之中,引发了数字界面化的经验转向。从传统观影中“洞穴隐喻”的凝视客体到数字观影中“界面效应”的操作用户,多种形态的界面装置,从观看层面对影像交互的物质性基础进行了改造,使“观众”转变为“用户”,影像转变为“界面—影像”,并塑造了以介入式感知、浏览化视点与具身化参与为主的新型界面交互逻辑。Post-cinematic vision refers to the digital way of viewing movies characterized by computers and the Internet,which manifests the phased characteristics of the development of contemporary visual media and presents a pan-mediated audiovisual landscape.The digitization of media ecology has placed the film viewing environment in an interface-based power structure,triggering an experiential shift towards digital interfacing.The transition is from the gazing object of the“cave metaphor”in traditional movie watching to the operating user of the“interface effect”in digital movie watching,along with the various forms of interface devices.The material basis of image interaction has been transformed at the level of viewing,turning“audience”into“user”and images into“interface-images”,and has shaped a new type of interface interaction logic that is primarily characterized by engaged perception,a browsing perspective,and embodied participation.

关 键 词：后电影 交互界面 观演结构 交互逻辑 

分 类 号：J905[艺术—电影电视艺术]