论“人机交互”式数字电影表演——以“恐惑谷”效应为中心  

Cinematic Performance and Human-Computer Interaction in the Digital Age——From the Perspective of“Uncanny Valley”

作　　者：陈涛[1] Chen Tao(School of Liberal Arts,Renmin University of China,Beijing 100872)

机构地区：[1]中国人民大学文学院,北京100872

出　　处：《华中师范大学学报（人文社会科学版）》2024年第4期71-79,共9页Journal of Central China Normal University:Humanities and Social Sciences

基　　金：中国人民大学科研基金面上项目“欧美早期电影的声音风景研究”(22XNA031)。

摘　　要：在数字时代的大银幕上,3D建模、虚拟摄影、动作表情捕捉、合成技术、AI成像等计算机CGI技术同真人表演相结合,创造出形态各异、风格多元的银幕形象。这样一种“人机交互”式数字表演,强调了有别于传统电影“照相写实主义”的“感觉写实主义”美学,也带给观众差异化的审美体验。一味追求“逼真”的数字表演,很容易陷入“恐惑谷”效应的深渊;也有一些影片能规避、利用或跨越“恐惑谷”,实现积极或正面的表演效果。数字时代银幕上的“恐惑谷”效应,彰显了人机交互、融合与协作的必然性和必要性。On big screens in the digital age,CGI technologies such as 3D modeling,virtual photography,motion capture,synthesis technology,and AI imaging combine themselves with live performances,creating cinematic images with different forms and styles.Such a kind of digital performance based on“human-computer interaction”emphasizes an aesthetic of“perceptual realism”,which is different from the“photographic realism”in traditional films.It is easy to fall into the“uncanny valley”by blindly pursuing the realistic characters,which brings negative experience to the audience.While some other films can avoid,take advantage of,or even cross the“uncanny valley”to achieve positive performing effects.The“Uncanny Valley”effect on big screens in the digital age highlights the inevitability and necessity of human-computer interaction,integration and collaboration.

关 键 词：数字电影 表演 恐惑谷 人机交互 感觉写实主义 

分 类 号：TP399[自动化与计算机技术—计算机应用技术] J912[自动化与计算机技术—计算机科学与技术]