神经、具身化与触觉:数字时代高帧率电影的感知机制  

Nerves,Embodiment and Touch:Perception Mechanisms of High Frame Rate Film in the Digital Era

作　　者：马豆豆 Ma Doudou

机构地区：[1]厦门大学电影学院

出　　处：《戏剧与影视评论》2024年第6期89-103,共15页Review of Theatre and Film

摘　　要：在后电影的数字媒介环境中,高顿率电影打开了一种全新的感知方式。“技术与人类的协同进化”指向了大脑一神经网络的可塑性能力,这一可塑性不但厘清了高帧率电影所面临的感知困境,还敬开了生理积极进化的可能。高顿率影像的实证实验与观影感受的差异印证着难以绕过的主体经验的必要性,由此转向了具身化的感知。具身化一方面捕获了难以被神经觉察到的微观的情和感性,另一方面引向了沉浸状态的关联性维度。最后,经由具身化重新考察高顿率电影,从“体触一影像”和“动觉一影像”两个感知模式分析高帧率电影中的面部特写和运动镜头,在某种程度上可以说,高顿率电影是身体框定的一种感性影像。In the post-cinematic digital media environment,high frame rate film opens up a whole new way of perception.The"co-evolution of technology and human beings"points to the plasticity of brain-neural networks,which not only clarifies the perceptual dilemmas faced by high frame rate film,but also opens up physiological possibilities for positive evolution.The discrepancy between empirical experiments with high frame rate images and the experience of watching them confirms the necessity of subjective experience,which is difficult to bypass,and thus shifts to embodied perception.Embodiment,on the one hand,captures microscopic emotions and sensibilities that are difficult to perceive neurologically,and on the other hand,leads to the associative dimension of the immersive state.Finally,by re-examining high frame rate films through embodiment,we analyze facial close-ups and motion shots in high frame rate films in terms of the two perceptual modes of"haptic image"and"kinesthetic image",which,to some extent,are perceptual images framed by the body.

关 键 词：神经可塑性 具身化 本体觉 沉浸 触感 

分 类 号：J90[艺术—电影电视艺术]