当前人工智能影像创作的美学变革与叙事重构  

The Aesthetic Revolution and Narrative Reconstruction in Contemporary Artificial Intelligence Cinematic Imagery Creation

作　　者：李雨谏 Li Yujian

机构地区：[1]中国传媒大学戏剧影视学院

出　　处：《艺术传播研究》2025年第3期4-14,共11页Journal of Art Communication

摘　　要：人工智能(AI)影像创作领域呈现出技术与美学的双重革新,表现为对影像语言体系的深刻改变与叙事形式的创新重构。当前全球的AI影像研究在理论话语上大多偏重于创作归属权、艺术本体论等宏观议题,对具体作品文本的分析不足。通过对Runway AI电影节、戛纳XR子单元、麻省理工学院AI黑客马拉松等重要节展及其获奖作品的初步考察,可以看到AI影像具有三重特质,即超现实主义式的梦境视觉、高度抽象的技术想象,以及静态性与情感体验流动融合。这些特质背后蕴含着一种以韩炳哲的“讲述”理论为参照的“内在化创作”趋势——通过数字技术化的形式语言具象化地表达个体情感,并由叙事人现身“讲述”。由此,结合马诺维奇与赫拉斯的理论视角进一步探讨,可以认为AI影像创作能够重返现代主义艺术精神,并在机器时间结构下重构审美敏感性,为表达个体的经验探索更多元的路径。The field of artificial intelligence imagery creation currently presents a dual innovation of technology and aesthetics,manifested in profound changes to the language system of images and innovative reconstruction of narrative forms.The current global AI imagery research mostly focuses on macro issues such as creative ownership and artistic ontology in theoretical discourse,and lacks analysis of specific work texts.Through preliminary examination of important exhibitions and award⁃winning works such as the Runway AI Film Festival,Cannes XR Unit,and MIT AI Filmmaking Hackathon,it can be seen that AI imagery has triple formal characteristics,namely surrealistic dream vision,highly abstract technological imagination,and the fusion of statics and emotional experience flow.These qualities reflect an“Inner⁃World creation”paradigm articulated through Byung⁃Chul Han’s“Erzählen”theory—the expression of subjective emotional states through digital formal language with embodied narration.Therefore,combining the theoretical perspectives of Manovich and Heras,it can be further explored that AI imagery creation can return to the spirit of modernist art and reconstruct aesthetic sensitivity under the machine temporal structure,exploring more diverse paths for expressing individual inner experiences.

关 键 词：人工智能影像 叙事重构 超现实主义 内在化创作 机器时间结构 

分 类 号：J90[艺术—电影电视艺术]