摘要
根据苏珊·桑塔格的迷影理论,早期的电影迷恋将观影仪式化,是对观影行为本身的迷恋,最初的电影批评也是在电影迷恋的氛围中成长起来的;数字时代的来临让电影批评和网络接轨,并显露出社群化、精英化的“后迷影”特征;而如今,由于电影审美趣味和观看方式的变迁,网络影评总体呈现出一种“再媒介化”的趋向,以传统迷影和后迷影为代表的“电影迷恋”已经转化为大众狂欢式的“符号迷恋”。
Drawing on Susan Sontag's theory of cinephilia,early film enthusiasts were captivated by the ritualized experience of viewing,demonstrating a fascination with the act itself.This initial fervor gave rise to the emergence of film criticism within the cinephilic atmosphere.However,the onset of the digital age has seen film criticism intersect with the online sphere,unveiling characteristics of community engagement and elitism in what can be termed the "post-cinephilia" landscape.Nevertheless,amidst shifting aesthetic preferences and viewing behaviors,contemporary online film reviews exhibit a tendency towards "re-mediation," whereby the traditional cinephilia and subsequent "post-cinephilia" have evolved into a widespread celebration of "symbolic adoration."
作者
陈琰
高智阳
Chen Yan;Gao Zhiyang
出处
《传媒观察》
CSSCI
2024年第3期102-109,共8页
Media Observer
基金
江苏省社会科学基金一般项目“新媒体环境下网络迷影影评传播现状研究”(23YSB 019)的研究成果。
关键词
迷影理论
符号狂欢
网络影评
再媒介化
theory of cinephilia
symbolic carnival
online film criticism
remediation
