摘要
后疫情时代,网络电影基于中小成本投资、快捷回收、网上播映热议等优势,表现出广阔的前景和蓬勃的生机。在当下网络电影发展和“想象力消费”崛起的新趋势中,网络电影《倩女幽魂:人间情》无疑具有代表性。该片尊重网生代受众的审美趣味与网络观影的特殊性,遵循网络大电影的创作逻辑,并在工业支撑下进行视觉奇观美学呈现与中国传统美学精神的转化。作为青少年受众“重新部落化”与“象征性权力表达”的符号,此类影片还具有意识形态再生产功能,并包含了游戏美学、游戏文化等青年亚文化。该片昭示了魔幻玄幻类、影游融合类“想象力消费”电影符合后疫情受众审美新需求与“想象力消费”增长的趋势,对疫情后电影尤其是跨媒介改编、影游融合类网络电影的创作具有启示意义。
In the post-epidemic era,online films,by virtue of their advantages of small and medium investment cost,quick cost recovery and hot discussions on the Internet,have shown broad prospects and vigorous vitality.In the new trend of the rise of online films and imagination consumption,The Enchanting Phantom is undoubtedly a typical pioneer of the lineup of online films.The film respects the aesthetic taste of the"Network Generation"audience and the particularity of online watching,conforms to the logic of online film creation,such as a clear narrative,a tight pace and clear relationships between characters,and presents aesthetic visual spectacles based on industrial support while combining traditional Chinese aesthetic spirit.As a"symbol"of"re-tribalization"and"symbolic power expression"of young audience,films like The Enchanting Phantom also have the function of"ideological reproduction",conveying game aesthetics,game culture and other youth subcultures.The Enchanting Phantom shows that"imagination consumption"films such as the types of"magic and fantasy"and"film-game integration"are in line with the trend of the audience's new aesthetic demand and the trend of growing"imagination consumption".It is of enlightenment to the post-epidemic films,especially to the cross-media adapted and film-game integrated online films.
作者
陈旭光
张明浩
CHEN Xuguang;ZHANG Minghao(School of Arts,Peking University,Beijing 100871,China)
出处
《上海大学学报（社会科学版）》
CSSCI
北大核心
2021年第3期20-31,共12页
Journal of Shanghai University(Social Sciences Edition)
基金
国家社会科学基金艺术学重大项目招标课题(18ZD13)。
