迁移、缝合与深化:跨媒介视域下新时代戏曲电影的审美体验  

Migration, Stitching, and Deepening: Aesthetic Experience of New Era Opera Films in a Cross-Media Perspective

作　　者：陈琳娜 Chen Linna

机构地区：[1]江苏开放大学艺术学院

出　　处：《四川戏剧》2025年第1期24-27,共4页Sichuan Drama

基　　金：2023年度江苏省社会科学基金项目“数字时代江苏戏曲非遗影像建构与美学表达研究”(项目编号:23TYD010);2021年度江苏高校哲学社会科学研究一般项目“跨媒介视域戏曲电影的‘双重’叙事与美学表达”(项目编号:2021SJA0741)的研究成果。

摘　　要：戏曲电影作为独树一帜的中国电影类型,在影像叙事中展现了“戏曲”与“电影”这两种不同媒介融合的影戏世界。戏曲电影的“跨媒介审美”有其独特之处,当代观众在跨媒介转换中展开能动式移情,实现对“名角”化为“人物”的情感认同;在跨媒介叙事中体验互动式参与,形成对一体多面的“故事世界”的理解与建构;在跨媒介融合中感知戏曲电影的“新现实审美”特征,深化对“影戏同构”的奇观化、民族化、戏曲化审美体验。As a unique genre of Chinese cinema, opera films present a compelling blend of cinematic storytelling and dramatic elements rooted in traditional opera. This genre's transmedia aesthetics distinctly enables contemporary audiences to actively engage and empathize with the "characters" portrayed by "renowned performers;" in cross-media narratives, viewers experience interactive participation, which fosters an understanding and construction of a multifaceted "story world;" through cross-media integration, the viewers can perceive the characteristics of "new realistic aesthetics" in opera films, enriching their aesthetic experience characterized by the spectacle, nationalism, and operatic qualities in the "theatrical cinema."

关 键 词：跨媒介视域 戏曲电影 审美体验 

分 类 号：J951.2[艺术—电影电视艺术]