摘要
《银翼杀手》一共出了5部影视系列作品:《银翼杀手2019》、《银翼杀手2022黑暗浩劫》、《银翼杀手2036复制人黎明》、《银翼杀手2048无处可逃》、《银翼杀手2049》。中间三部的时长较短,主要承接1982年版《银翼杀手》,为2017年版《银翼杀手2049》起铺垫情节的作用,使系列作品风格统一、形式完整,深刻揭示人类在媒介支配、技术主导和数字奇观化生态下被异化与物化的后人类境遇。不同于马里亚蒂所歌颂的“人对于机器的驯服”,技术对于人自身的规训和对人自身的消灭成为未来社会的担忧。文章通过叙事机制运作和表意装置的传达,即从视觉审美角度分析作品序列的承继与差异,探讨蒸汽朋克风格影片的废土美学风格。
“Blade Runner”has a total of 5 film and television series:“Blade Runner 2019”,“Blade Runner 2022 Dark Catastrophe”,“Blade Runner 2036 Duplicate Dawn”,“Blade Runner 2048 Nowhere To Flee”,“Blade Runner 2049”.The short duration of the middle three parts is mainly to undertake the 1982 version of"Blade Runner"and pave the way for the 2017 version of"Blade Runner 2049",making the series of works unified in style and complete in form,and deeply revealing the dominance of human beings by the media and the dominance of technology.And the post-human situation alienated and materialized under the digital spectacle ecology.Unlike the“man’s taming of machines”praised by Mariati,the discipline and elimination of human beings by technology has become a concern for the future society.Through the operation of narrative mechanism and the transmission of ideographic devices,the article analyzes the inheritance and difference of the sequence of works from the perspective of visual aesthetics,and explores the wasteland aesthetic style of steampunk-style films.
作者
郑雯
王偲
ZHENG Wen;WANG Si(Anhui University of Science and Technology,College of Humanities and Social Sciences,Huainan 232001,China)
出处
《哈尔滨师范大学社会科学学报》
2022年第1期163-167,共5页
Journal of Social Science of Harbin Normal University
