融媒时代电影艺术的媒介性及其观影实践嬗变  

Media Nature of Film Art and Its Evolution of Film-watching Practice in the Convergence Media Era

作　　者：薛龙[1] XUE Long(School of Liberal Arts,Xi'an Technological University,Xi'an 710021,Shaanxi)

机构地区：[1]西安工业大学文学院,陕西西安710021

出　　处：《商洛学院学报》2024年第3期84-90,共7页Journal of Shangluo University

基　　金：陕西省哲学社会科学研究专项2024年度全省统战理论政策重点研究项目(2024HZ779);西安市社会科学规划基金项目(24LW71);西安工业大学校级本科教学改革研究项目(23JGY009)。

摘　　要：电影性是使电影成其为自身的东西。相比于电影性,媒介性作为电影属性中的构成一直存在,其占有的位置与权重则相对靠后和较轻。在技术发展的推动下,媒介性在电影属性构成中有进一步凸显的趋势,并对于电影性形成影响。媒介性对于观影实践的影响表现在仪式感意味的淡化,短视频“二创”的火热及观影方式变化等多方面,在媒介性加速的态势下需要呵护电影性。Cinematic nature refers to the film becoming something of itself,compared to cinematic,media has always existed as an attribute of film,but its position and weight are relatively lower and lighter.Driven by technological development,media as a component of film attributes has a further trend of highlighting,while also having an impact on the formation of cinematic elements.The impact of media on film watching practice is reflected in the weakening of ritual sense,the popularity of"second creation"short video,and changes in viewing methods.In the context of accelerated media,it is necessary to protect the cinematic aspect.

关 键 词：融媒时代 电影性 媒介性 观影实践 

分 类 号：G21[文化科学—新闻学]