影游融合语境下的交互电影叙事嬗变  

作　　者：涂琛 

机构地区：[1]信阳学院美术与设计学院

出　　处：《北京文化创意》2025年第1期56-62,共7页Beijing Culture Creativity

基　　金：教育部人文社会科学研究青年基金项目资助“媒介变革语境下当代电影理论的‘现象学转向’研究”阶段性成果(项目编号:21YJC760038)。

摘　　要：在影游融合背景下,交互电影的出现创造性地使人们主动参与到影像意义的建构中,继而模糊了电影与游戏间的界限,在既看又玩的动态关系中消解了传统的观众与玩家身份。叙事视角也随之发生了从被动旁观到主动介入的根本转变,这一转变催生了叙事结构的涌现性特征,即观众与影像之间的互动能够生成多样化的故事线和结局,并呈现一种数据库逻辑。观影者的交互行为意味着影像身体的诞生,该身体植根于影像世界并被影像世界所影响,这也间接增强了观众在观影过程中的沉浸感和代入感。影像身体的存在同时也预示着一种具身审美体验的降临。Against the backdrop of the integration of film and games,the emergence of interactive movies has creatively enabled people to actively participate in the construction of the meaning of images,thereby blurring the boundaries between films and games.In the dynamic relationship of both watching and playing,the traditional identities of viewers and players are dissolved.The narrative perspective has also undergone a fundamental transformation from passive observation to active intervention.This transformation has given rise to the emergent characteristics of narrative structure,that is,the interaction between viewers and images can generate diverse storylines and endings,and present a database logic.The interactive behavior of viewers implies the birth of the image body,which is rooted in and influenced by the image world,and this also indirectly enhances the immersion and identification of viewers in the viewing process.The existence of the image body also heralds the advent of an embodied aesthetic experience.

关 键 词：影游融合 交互电影 叙事视角 叙事结构 具身 

分 类 号：J905[艺术—电影电视艺术]