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灾难电影已经成为当今电影市场中不可或缺的重要组成部分,其往往凭借非常态的蒙太奇结构手法令观众体验到“子弹穿膛”式的震惊效果。《2012》的票房胜利再度印证了灾难电影内蕴的独特魅力。面对上述现象,文章主要从如下三个方面进行了反思:首先,《2012》通过酷炫劲爆的仿像画面消解了虚拟与真实的界限,真假难辨致使审美距离随之丧失,观众沉溺其中、无法自拔,史无前例的虚无感无疑是人类恐慌情绪生成的直接缘由;其次,《2012》作为奇观电影的典范,标志着电影范式的时代转型,在根本上又是文化观念演变的结果;最后,有别于古希腊时代的睦邻友伴关系,人与自然的关系在影片中高度紧张,与系列间性哲学的立论基础一脉相承,包括《2012》在内的灾难电影均致力于为主客关系的改善做出努力。
Disastrous movies have become an integral part of today’s movie market and often experience spectacular “bullet piercing” shocks with unusual montage structures. The “2012” box office victory once again confirms the unique charm of disaster film. In the face of the above phenomenon, the article mainly reflects on the following three aspects: Firstly, “2012” dispels the boundary between the virtual and the real through the cool and fantastic imitation images, the loss of the aesthetic distance and the indulgence of the audience Among them, unable to extricate themselves, the unprecedented nothingness is undoubtedly the direct cause of human panic generated; Secondly, “2012” as a spectacle film model, marking the era of the film paradigm shift is fundamentally the result of the evolution of cultural ideas; , Different from the ancient Greek era of good-neighborliness and friendliness. The relationship between man and nature is highly strained in the film. It is consistent with the foundations of inter-subjectivity philosophy. Disaster movies including “2012” are devoted to the relationship between the subject and the guest Improve and make efforts.