论文部分内容阅读
华人当代影像艺术,无论内地、台湾或海外的种种创作形态及线索,何时与“电影”发生关联并内化为一种艺术家的生命体验、美学观点、创作线索及回应到视觉的展示模式等等问题,是令人回味且深思的议题。电影首先作为一种高度政治化了的工具,所创造和阐述的一套权力话语随着政治、经济的变化而不断延展其生命力,如果说1990年初内地开始的“独立制片运动”是恰如其分的催化剂,也及时开启了一个自由、自觉与极具启蒙色彩的全新的影像视觉意识。影像艺术的创作不再拘泥于艺术与美学领域,而与
Chinese contemporary video art, regardless of the creative forms and clues of the Mainland, Taiwan or overseas, when associated with “movie” and internalized as an artist’s life experience, aesthetic point of view, creative clues and response to the visual display Mode and so on, is memorable and thoughtful topic. As a highly politicized tool, the movie first creates and expounds a set of power discourses that continuously extend its vitality with political and economic changes. If the “independent motion of the country” started in the Mainland in early 1990 is Appropriate catalyst, but also in time to open a free, self-aware and very enlightening color vision of a new visual. The creation of video art is no longer rigidly attached to the field of art and aesthetics