触感视觉、身体想象与感官地理:体感王家卫电影的方法(1988—2004)  

Texture Vision,Bodily Imagination and Sensory Geography:Approaches to the Cinematic Sensation in the Films of Wong Kar-wai(1988—2004)

作　　者：文静 杨凯 WEN Jin;YANG Kai

机构地区：[1]清华大学新闻与传播学院

出　　处：《电影理论研究（中英文）》2024年第2期100-107,共8页Journal of Film Studies

基　　金：国家社会科学基金艺术学项目“影视如何讲好中国故事:建构中国故事的影像修辞系统”的阶段性研究成果(项目批准号:18BC042)。

摘　　要：文章从影像身体感知的三个层面重读王家卫1988年至2004年间的电影:首先,将影像作为皮肤,强调用眼睛去触摸,唤起观者的触感;其次,将影像作为界面,以服装一身体皮肤表面一空间等不同界面的摩擦碰触,展开毗邻、连接、贴近的表面符号流动和身体可能性的想象;最后,将影像作为场域,以人物的漫游与穿行,关注身体移动所带来的运动知觉与漫游者的感官地理。文章以突破传统的电影读解方式,开掘新的电影知觉范式,探究空间在体感、关系性、移动性、身份认同与跨文化体验建构中的作用与背后的文化意义。This article re-examines the films of Wong Kar-wai from 1988 to 2004 by virtue of three dimensions of cinematic bodily perception.Firstly,it considers images as"skin",emphasizing the act of"touching"with the eyes to evoke tactile sensations in the viewers.Secondly,it views images as"interfaces",exploring the interaction between different surfaces such as clothing,body skin,and spatial environments,which fosters adjacent,connected,and proximate symbolic flows and imaginations of bodily possibilities.Lastly,images are seen as"fields,focusing on the characters"wanderings and movements,which highlights the perception of motion and the sensory geography of the wanderer.The article breaks away from traditional film reading methods by proposing a new paradigm of cinematic perception that explores the role of space in sensory engagement,relational dynamics,mobility,identity formation,and the construction of cross-cultural experiences,uncovering the cultural meanings behind them.

关 键 词：王家卫 体感 身体 空间 

分 类 号：J911[艺术—电影电视艺术]