摘要
书信电影作为书信和电影两种媒介的融合产物,利用自身的本体特性,阻断影像对再现式幻觉的惯性聚焦,解构了经典电影的叙事逻辑,并对在书信交换领域具有过渡性质的间隙空间进行开发和呈现。这些间隙空间显示着一种自反、不稳定的结构,具有模糊话语边界和作者身份的开放品质,本质上构成了一种氛围影像。以此书信电影不仅僭越且扩展了电影的边界,还向内开拓出了面向感知经验与反思性交流的场域,显示出了其在媒介解放与文化表达层面的双重优势。
As a product of the cross-media integration of letters and films,the epistolary film uses its ontology characteristic to block the inertial focus of images on representational illusions and deconstruct the narrative logic of classic films.The epistolary film develops and presents the interstitial space that is transitional in the field of epistolary exchange.These interstitial spaces reveal a self-reflexive,unstable structure,with an open quality that blurs the boundaries of discourse and authorship,which essentially constitutes an atmosphere image.In this way,the epistolary film not only transgresses and expands the boundary of the film but also opens up a field of perceptual experience and reflective communication inside,showing its dual advantages in media liberation and cultural expression.
作者
赵宜
祝凤仪
Zhao Yi;Zhu Fengyi
出处
《电影艺术》
CSSCI
北大核心
2024年第1期52-58,共7页
Film Art
基金
国家社科基金艺术学项目“中国影视艺术的媒介融合、技术迭代与产业未来研究”(批准号:19BC031)阶段性成果
上海高水平地方高校创新团队——上海戏剧学院“影视学科三项核心能力建设创新团队”研究成果。
关键词
书信电影
信件电影
间隙
交互
epistolary film
letter-film
interstitial spaces
interaction
