伪纪录片中“去身性”的游戏表达  

The Ludology Expression of“Disembodiment”in the Mockumentary

作　　者：李晗 Li Han

机构地区：[1]河北科技大学影视学院

出　　处：《艺术传播研究》2024年第4期136-144,共9页Journal of Art Communication

摘　　要：伪纪录片与观众建立了新型的连结,即“去身性”。它改变了人类观影时的感知方式,在看似透明的媒介装置中实现情感控制。其观众在令人信服的现实幻觉中会产生类似游戏时的沉浸快感,达成“知觉和情动的参与”,从而暂时失去对真实的判断。通过对以下三方面的解析,可知伪纪录片具有可能实现“无电影之电影”“无观众之电影”的“去身性”美学特质:其一,伪纪录片视听语言的游戏化与情绪感染;其二,伪纪录片的超文本再创作与“真实”的重新编码;其三,伪纪录片作为生态电影的功能与原始想象力。The mockumentary establishes a new type of connection with the audiences,namely disembodiment.It changed the way humans perceive when watching movies,achieving emotional control in seemingly transparent media devices.The audience will experience immersive pleasure similar to that of a game in convincing realistic illusions,achieving“perceptual and emotional participation”,and temporarily losing their judgment of reality.Through the analysis of the following three aspects,it can be concluded that mockumentary has the potential to achieve the aesthetic characteristics of“disembodiment”of“film without film”and“film without audience”:Firstly,the ludology and emotional contagion of the audio-visual language in mockumentary;Secondly,the re-creation of hypertexts in mockumentary and the re-coding of“reality”;Thirdly,the function and primitive imagination of mockumentary as ecological films.

关 键 词：伪纪录片 去身性 超文本 游戏 艺术感知 

分 类 号：J952[艺术—电影电视艺术]