触感理论在互动电影中的延异和重构  

Haptic Theory's Extension and Reconstruction in Interactive Cinema

作　　者：李琳[1] 方婉怡 LI Lin;FANG Wanyi

机构地区：[1]河北师范大学新闻传播学院

出　　处：《电影理论研究(中英文)》2025年第1期35-42,共8页Journal of Film Studies

基　　金：河北师范大学2023年度人文社科博士基金项目“中国科幻电影创新实践研究(1980-2023)”的阶段性成果(S23B022)。

摘　　要：触感理论是电影理论界感觉转向中不可忽略的重要部分。数字时代,超文本、互动游戏电影以桌面触感的美学形式,通过键盘、鼠标等物质性媒介延伸感知,回归了触感电影的原初美感。VR电影则以可穿戴触感的美学形式,优化触觉和动觉反馈,开发主动触觉创造触感真实,使得观众通过干预屏幕世界和叙事系统内部有效地触摸电影。触感理论在互动电影中突破了过往内生于视觉的局限,在理论内容和定义上分别完成了延异和重构,使电影无限趋近于“完整电影”的不朽神话。The haptic theory proposed by Laura U.Marks and other scholars play a crucial role in the sensory turn within Western film theory,an aspect that cannot be overlooked.In the digital age,hypertext and interactive gaming films return to the foundational aesthetics of haptic cinema via the aesthetic forms of desktop haptics,extending perception through tangible interfaces such as keyboards,mice,and game controllers.Meanwhile,VR cinema adopts the aesthetic form of wearable haptics,simulating haptic realities through optimized haptic and kinetic feedback mechanisms.This wearable haptic aesthetic,which uses enhanced haptic and kinesthetic feedback to simulate tangible experiences,promotes active haptics over passive ones.As a result,it creates a haptic reality where audiences can tangibly engage with both the screen world and the film 's narrative structure,accomplishing this extension and redefinition within the theoretical framework and content.

关 键 词：触感理论 感觉转向 互动电影 

分 类 号：J905[艺术—电影电视艺术]