CGI数字影像的能指演进——电影第二符号学“去就之分”  

The Evolution of the Signifier in CGI Digital Image:The Point of No Return in Second Semiotics of Film

作　　者：刘弢[1] LIU Tao

机构地区：[1]华东师范大学传播学院,上海200241

出　　处：《上海师范大学学报（哲学社会科学版）》2024年第6期114-122,共9页Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)

摘　　要：CGI数字影像的出现不仅对电影创作影响深远,同时也对以精神分析法为依托的电影第二符号学提出新的挑战。尤其是CGI数字影像因为脱离了摄影术而缺乏指示性,不具备双重能指,呈现为“能指二分”。电影第二符号学曾经提出的“想象的能指”便不再适用。文章根据观影过程的“感性的把控”以及拉康的两个镜像模型,区分CGI数字影像在实在界、想象界和象征界的交织情况,认为以精神分析法为核心的电影第二符号学是阶段性产物,应该摆脱摄影术的历史局限,以CGI数字影像的能指诉求,强调观影过程与符号建模的双重特性。The emergence of CGI digital image holds profound significance not only for film production,but also poses new challenges to second semiotics of film which is grounded in psychoanalysis.In particular,CGI digital image,due to its detachment from photography,lacks indexicality and does not possess a dual signifier,presenting as a“binary signifier”.The“imaginary signifier”once proposed by second semiotics of film is no longer applicable.The article,based on the“sensory control”during the film viewing process and Lacan’s two mirror stage models,distinguishes the interactions of CGI digital image in the realms of the real,the imaginary,and the symbolic.It argues that second semiotics of film,which is centered on psychoanalytic methods,is a product of a specific stage and should emancipate from the historical limitations of photography.Instead,it should emphasize the dual characteristics of the film viewing process and the modeling of signs,focusing on the signifier demands of CGI digital image.

关 键 词：CGI数字影像 电影第二符号学 想象的能指 双重能指 能指二分 

分 类 号：J90-05[艺术—电影电视艺术]