从现场主义到幽灵现实主义:电影与影像的真实  

From Liveness Theory to Ghostly Realism:TheReal of Film and Visuals

作　　者：周志强[1,2] Zhou Zhiqiang

机构地区：[1]南开大学文学院 [2]南开大学当代审美文化研究中心

出　　处：《电影艺术》2025年第1期26-33,共8页Film Art

基　　金：国家社科基金重大项目“虚拟现实媒介叙事研究”(批准号:21&ZD327)阶段性成果之一。

摘　　要：“影像真实”是悖论性和现场性的。每一个不曾见过历史的人,都因为一场观影而成为历史的见证者—一种对没有发生过的事情的见证。摄影机将世界自身的连续性运动转换为电影中的非线性运动,造成视觉上的惊奇。一个画面和另一个画面的连接,形成“虎跃式”动像,导向幽灵现实主义:总是冒充正在发生(现场),却是已经发生(幽灵);用正在进行时的方式,将处在现在时态的观众扔回到历史的过去时态中;以画面、声音的装置性组合,构造虎跃式的历史叙事。The concept of"the real of film and visuals"is paradoxical and imbued with a sense of immediacy.Anyone who has never personally witnessed history can become an eyewitness to it through the act of watching a film-a testimony to events that never actually occurred.The camera transforms the continuous motion of the world into the nonlinear movements of film,producing visual shocks and wonders.The connection between one frame and the next forms a tiger-leap"dynamic image,resulting in a ghostly realism:it always pretends to depict something(immediately)happening,even though it actually represents something(ghostly)belonging to the past.Through this continuous approach,film situates viewers in the present while casting them back into the historical past.By combining images and sounds,it constructs a historical narrative imbued with a"tiger-leap"dynamic.

关 键 词：影像真实 现实主义 虎跃 现实 

分 类 号：J905[艺术—电影电视艺术]