摘要
彩色胶片技术使电影的探索目光开始从镜头之间的关系和镜头内部的关系中挪移出来,把重点放在创造画面影像既真实又富于美感的效果上,电影美学由此又发生了一次重大的转向。这种注意力的转移显示出电影在艺术和美学上的新动向,影像的问题也不再仅是艺术的问题,而更成为美学的问题。从摄影影像到数字影像,电影的影像越来越显示出仿真的特性,朝着偏离纪实主义的方向发展。电影的影像,从根本上说就是一种仿真的拟像。而数字影像因为技术的优势,更促使它在仿真的道路上继续阔步前进。
Color film photography has been transferred the searching eyes of the film from shot＇s external and internal relationship to the effects that can make the images not only real but also full of sense of beauty, and this is the point. Thus, film aesthetics has taken an important veer. This shifts in attention shows the new trends in arts and aesthetics. The questions about image is not only about arts, but also aesthetics. From pho- tographic image to digital image, the image of the film has more and more shown the features of simulation, on the way that has abandoned documentary doctrine. The image of the film is a simulacra basically. And because of technical advantages, the digital image can encourages the images to move forward rapidly on the path of simulation.
出处
《福建师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2013年第3期98-105,共8页
Journal of Fujian Normal University:Philosophy and Social Sciences Edition
基金
2010年教育部人文社会科学研究一般项目(项目批准号:10YJA760064)的阶段性成果
关键词
电影
影像
仿真美学
Film
image
Simulation aesthetics
