注意力匮乏时代的观影分心  

Watching Films in the Age of Distraction

作　　者：施畅 Shi Chang(School of Journalism&Communication,Jinan University,Guangzhou 510632,Guangdong,China)

机构地区：[1]暨南大学新闻与传播学院,广州市510632

出　　处：《文艺理论研究》2024年第4期109-118,共10页Theoretical Studies in Literature and Art

基　　金：国家社科基金艺术学项目“数字媒体生态下的电影观众与中国观影文化数据库建设研究”[项目编号:24AC007]阶段性成果。

摘　　要：分心是注意力的错配,通常被认为是现代性的后果之一。以克拉考尔、本雅明为代表的魏玛德国思想家将流动影像理解为连续不断的“视觉刺激”,观众以分心接受应对,但也因此无暇沉思;维利里奥及部分传媒经济研究者则将影像理解为源源不绝的“知觉供应”,认为加速供给的影像最终会造成受众专注力的匮乏,随之而来的是各路媒介对受众注意力的激烈争夺和无情捕获。在影视产品极大丰裕、获取日趋便捷的今天,观众在观影时愈发漫不经心,对剧情推进缓慢、感官刺激不足的影视作品往往缺乏耐心,且愈发频繁地选择倍速播放、影视速读等方式来“加速”观影。观影加速令观众沉思不再,解说泛滥令影视作品日趋浅薄,分心成瘾的我们正日益迎来一个体验丰富而经验匮乏的观影时代。Distraction is the misallocation of attention,often considered as one of the consequences of modernity.German scholars in Weimar represented by Siegfried Kracauer and Walter Benjamin consider moving images as continuous“visual stimuli”,which audience accept with distraction while having no time for contemplation.Paul Virilio and some scholars of media economy consider images as endless“perception supply”,thinking that accelerated supply of images will eventually lead to a lack of audience concentration,followed by various media's fierce competition and ruthless capture of the audience.Today,while video products are incredibly abundant and more accessible,audience become increasingly insouciant.They are often impatient at videos with slow plot progression or insufficient sensory stimuli.In contrast,they frequently speed up the film watching process by selecting multi-speed playback or consuming“speed reading”products.The acceleration of film watching makes the audience think less,and the large numbers of commentaries make videos increasingly shallow.Film audience find themselves encountering an era with rich impressions but insufficient experience.

关 键 词：影像 分心 注意力 本雅明 维利里奥 

分 类 号：J943[艺术—电影电视艺术]