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技术美学、艺术形态与“游生代”思维——论影游融合与想象力消费 |
Technological Aesthetics, Artistic Form and the Thinking of “Game Generation”— On the Integration of Film and Game and Imaginative Consumption |
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中文关键词: 影游融合;想象力消费;身体记忆;“游生代” |
英文关键词:integration of film and game; imagination consumption; physical memory; game generation |
项目:国家社会科学基金艺术学重大项目招标课题“影视剧与游戏融合发展及审美趋势研究”(18ZD13)阶段性成果 |
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中文摘要: |
影游融合是电影产业和电影艺术发展的一个重要阶段或趋势。中国电影近年来表现出影游融合的明显趋势。影游融合类电影在影像制作层面运用游戏生产的视听技术,在银幕呈现层面融合想象世界与生活世界,并以冒险通关或虚拟互动的“游戏化”方式推进叙事,展开剧情。而实现这一影游融合的基础是根植于导演身体记忆层面的“游戏化”思维。电子游戏对电影导演想象力的拓展进一步开启了影像世界的多层叙事与游戏化表达。当下一批可以称为“游生代”导演的影游融合电影创作,打开了电影“想象力消费”的新空间,也开启了中国电影工业美学的新阶段。 |
英文摘要: |
The “integration of film and game” is an important stage or trend in the development of the film industry and film art. In recent years, Chinese films have shown an obvious trend of “film-game integration”. The “integration of film and game” movies use the audio-visual technology of game production at the video production level, integrate the imaginary world and the living world at the screen presentation level, and promote the narrative and unfold the plot in a “gamified” way of adventure clearance or virtual interaction. The basis for realizing this “integration of film and game” is the “gamification” thinking rooted in the director’s physical memory. The expansion of the imagination of film directors by video games has further opened up the multi-layered narrative and gamified expression of the video world. The current group of film and game directors who can be called “game generation” directors integrate film creation, open up a new space for “imaginative consumption” of films, and also initiated a new stage of aesthetics of Chinese film industry. |
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