摘要
自上世纪90年代末开始,数字技术的迅猛发展致使电影的制片与观看方式发生深刻变革,但数字媒介的特异性所造成的一系列电影本体之问仍未得到确切答案。罗多维克在《电影的虚拟生命》中,以其高度的媒介自觉质询并推演了数字电影是什么,并进一步探讨了它所负载的真实性与主体性问题。罗多维克尝试在技术、审美、伦理、文化的交叉线索中不断回归数字电影本体,在媒介层面比较胶片影像和数字影像的差异与同一、潜能与限制,并在“人的延伸”层面探讨媒介变迁对观看者的影响。罗多维克跨过两种媒介异质性的断裂,在《电影的虚拟生命》中客观地回应了数字技术究竟如何改变了电影及其研究范式。
Since the end of the 1990s,the rapid development of digital technology has led to profound changes in cinema production and viewing.However,a series of ontological problems caused by digital media specificity have not yet been answered accurately.In the book The Virtual Life of Film,D.N.Rodowick questions and deduces digital cinema with his consciousness of medium,and further explores realism and subjectivity of its load.Rodowick constantly returns to the ontology of digital cinema in the cross-logic of technology,aesthetics,ethics and culture: at the media level,he compares differences and identities,potentials and limitations between analogical image and digital image,and at the "the extension of man" level,he discusses the influence of media transformation on viewers.Striding over the gap of heterogeneity between the two media,Rodowick in The Virtual Life of Film objectively responds how digital technology has changed cinema and its research paradigm.
作者
张驰
Zhang Chi(Department of Chinese Language and Literature,Peking University,Beijing,China)
出处
《外国文学》
CSSCI
北大核心
2019年第3期143-150,共8页
Foreign Literature
关键词
数字电影
本体
媒介
虚拟
潜能
真实
观看行为
主体性
digital cinema
ontology
medium
virtual
potential
realism
spectatorship
subjectivity
