电影之后:从框取窗口到虚拟视窗  

Post-Cinema:From Framed Window to Virtual Window

作　　者：施畅 Shi Chang

机构地区：[1]暨南大学新闻与传播学院

出　　处：《电影艺术》2024年第4期66-72,共7页Film Art

基　　金：国家社会科学基金艺术学青年项目“新形势下全球数字游戏的意识形态风险防范研究”(批准号:23CH201);暨南大学中央高校基本科研业务费专项资金项目“数字游戏增强中国式现代化传播力影响力机制研究”(批准号:23JNQMX52)阶段性成果。

摘　　要：电影被现实主义者视作朝向现实的窗口,在后电影时代正面临“从框取窗口到虚拟视窗”的深刻转变:一是电影之窗由单一连贯、去媒介化、面向现实世界的窗口转变为多元并置、超媒介化、面向既成影像的视窗;二是电影之窗的观察者由面向后窗风景的凝视主体转变为面向橱窗陈列的游移主体;三是电影之窗的美学风格由时空连续转变为时空破碎。框取窗口象征传统意义上的电影,意味着现代性与秩序;虚拟视窗象征后电影,意味着后现代性与失序。Realists commonly consider cinema as a window to reality.However,in the post-cinema era,cinema is undergoing a profound transformation,shifting from the framed window to the virtual window.The cinema windows have shifted from singular,sequential,and immediate windows facing the actual world to multiple,simultaneous,and hypermediated windows facing found images.Furthermore,the spectator of the cinema window has shifted from a gazing subject peering through the rear window to a wandering subject facing the window display.Additionally,the aesthetic style of the cinema window has evolved from time-space continuity to time-space fragmentation.The framed window symbolizes the cinema in the traditional sense,frequently associated with modernity and order,while people seek possibilities beyond the window frame.Conversely,the virtual window symbolizes the post-cinema,frequently associated with postmodernity and disorder.

关 键 词：后电影 电影本体论 框取窗口 虚拟视窗 后现代 视觉媒介 

分 类 号：J905[艺术—电影电视艺术]