边界与去边界:影像共同体形态嬗变及影响  

Boundary and De-boundary: Evolving Forms and Impact of the Image

作　　者：答嘉逸 DA Jia-yi

机构地区：[1]武汉大学艺术学院,湖北武汉430072

出　　处：《中南民族大学学报（人文社会科学版）》2024年第8期169-180,188,共13页Journal of South-Central Minzu University (Humanities and Social Sciences)

基　　金：国家社会科学基金后期资助项目“‘冷战’格局下的东方阵营电影交流研究”(23FYSB036)。

摘　　要：赛璐珞影像时期,运动的影像是电影区别于其他艺术的根本。从胶片到数字,影像从电影的代名词转变为大众生活的主要媒介形式,由影像特性所形成情感聚集的共同体也在时代的进程中里经历了边界化向去边界化的嬗变。胶片时代,以影院为代表的仪式化触感空间和共同情感期待形成了边界化稳定的“赛璐珞影像共同体”。数字时代,虚拟即实的创作-放映-观看条件使原有的边界解构,流动的、敞开的去边界化的星丛式“数字影像共同体”出现。存在形态的嬗变带来的是平等民主的影像环境,但也面临着影像成为人的感知“义肢”,及多元、对话的去边界化共同体价值功能能否实现的挑战。During the era of celluloid imagery,the moving image was the fundamental characteristic that distinguished cinema from other art forms.With the transition from film to digits,images transformed from being synonymous with cinema to becoming the primary medium for mass communication in everyday life.The community formed by the characteristics of imagery and shared emotional experiences has also undergone a transformation from boundary-formation to de-boundary in the course of time.In the film era represented by cinemas,the ritualistic and tactile space and shared emotional expectations formed a stable“celluloid image community”with boundaries.In the digital age,the virtual-real creative-projection-viewing conditions have deconstructed the original boundaries,leading to the emergence of a fluid,open,and de-bounded“digital image community”resembling a constellation.The evolution of existence not only brings an egalitarian and democratic image environment,but also faces challenges such as whether images can serve as human perception“prosthetics”and whether the value functions of multi-dimensional and dialogical de-boundary communities can be realized.

关 键 词：影像 影像共同体 共同体美学 赛璐珞影像 数字影像 

分 类 号：J91[艺术—电影电视艺术]