摘要
电影影像的本质可以尝试从图像性的角度重新阐释,以强调再现与幻觉之间的二元张力。电影影像既源于摄影图像的再现性,又通过光学和认知机制创造出运动的幻觉。电影不是对现实的简单记录,而是要通过幻觉让观众体验运动。不同导演对再现与幻觉的不同理解,形成了对电影的不同认知。电影的特性使其成为一种“理性的魔法”,既记录现实,又创造幻觉。最终,电影影像在时间的线性编码中实现了再现与幻觉的统一。
This article explores the essence of cinematic images from a visual perspective,emphasizing the binary tension between representation and illusion.Cinematic imagesderive from the representational quality of photographic images while creating the illusion of movement through optical and cognitive mechanisms.Film is not simply a record of reality,but rather an illusion that allows viewers to experience motion.Different directors’interpretations of representation and illusion have led to diverse film theories.The characteristics of film make it a kind of“rational magic”,recording reality while also creating illusions.Ultimately,cinematic images achieve a unity of representation and illusion within the linear encoding of time.
出处
《艺术传播研究》
2025年第1期4-13,共10页
Journal of Art Communication
基金
国家社科基金艺术学项目“西方影像哲学研究”(编号:21BA025)的阶段性成果。
关键词
电影影像
再现
幻觉
线性图像
无我世界
cinematic image
representation
illusion
linear images
World-without-me
