摘要
新冠疫情对电影实践做出了"精准打击":同"社交距离"相反,电影院这个封闭空间,成为新冠病毒人际传播的完美地点。疫情大流行横暴地推动了电影的流媒体化。然而,流媒体化这个进程不应被视作电影自身不断"形成"中的一个变化,而是内在地侵蚀了电影之为电影的内核。流媒体平台对电影院的取代,在电影做什么(是什么)这个根基性的层面上,对电影及其装置造成了致命性的瓦解。电影院中的观影者,正在被"后电影状态"中的观景者取代。
The corona pandemic has launched a"targeted hit"at cinematic practices:Contrary to"social distancing",cinema theatres,being closed space,become the perfect site for the coronavirus to spread interpersonally.The pandemic violently accelerates the ongoing process of cinema turning streaming.However,such turn should not be regarded as part of cinema’s own"becoming"(in the Deleuzian sense),for it has been inherently damaging the core of cinema.The replacement of theatres by stream media has critically undermined cinema(and its apparatuses)at the level of its being(and doing).The filmviewers situated in darken theatres are being replaced by spectacle-viewers situated in the"post-cinematic state".
出处
《电影艺术》
CSSCI
北大核心
2020年第4期31-37,共7页
Film Art
基金
国家社科基金重大项目“后现代主义哲学发展路径与新进展研究”(18ZDA017)
中央高校基本科研业务费项目华东师范大学人文社会科学青年跨学科创新团队项目(2018ECNU-QKT012)。
关键词
新冠肺炎疫情
电影院
流媒体
观景者
触兴
corona pandemic
cinema theatre
stream media
spectator
affect
