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影像与声音是电影、电视的基本载体。任何影视理论与影视美学观念都无不是植根或生发于这一基本载体及其衍生事物而形成的。由于现代高科技—数字技术介入电影、电视及其影像与声音领域,必然导致当代影视理论与影视美学观念的更新。21世纪初年,中国电影理论界关于数字电影理论、“后电影”理论的探讨热浪不时涌起,以《中国“后电影时代”到来》为题的报道亦见报端。此间,有的论著认为,随着数字化时代的降临,数字影像导致巴赞的影像本体论解体,颠覆了以摄影为基础的真实性概念,电影这一被“真实”统治的“王国”也渐渐失去它原有的美学特质,传统电影美学根基已然崩坏。为了建树正确的数字电影理论及观念,推动数字电影制作实践的良性发展,准确把握与观照数字影像同传统影像的本质与作用、数字电影的真实性概念以及数字影像美学同传统影像及其美学的关系等,于是,深化“影像”领域的探讨和研究就显得尤为重要。现本刊摘发原文的第四部分。
Video and sound are the basic carriers of movies and television. Any theory of film and television aesthetics of film and television are all rooted in or generated in this basic carrier and its derivatives formed. Due to the modern high-tech - digital technology involved in the field of film, television and video and sound, will inevitably lead to contemporary film and television theory and the concept of aesthetics update. In the early years of the 21st century, reports on the theory of digital cinema and the theory of “post-cinematic” heated up from time to time, and the article entitled “The Arrival” of the post-“cinema era” was also published in the Chinese film theory circle. Here, some treatises hold that with the advent of the digital age, digital images have led to the dissolution of Bazin’s image ontology and subverted the concept of authenticity based on photography. The “real” rule of “the Kingdom” of movies has also gradually Lost its original aesthetic characteristics, the traditional film aesthetics has collapsed. In order to establish the correct theories and concepts of digital cinema, promote the sound development of digital cinema production practice, accurately grasp and observe the nature and function of digital images and traditional images, the concept of authenticity of digital cinema and the relationship between digital aesthetics and traditional images and their aesthetics Relations, etc. Therefore, it is particularly important to deepen the discussion and research in the field of “video”. Now extract the fourth part of the original text.