摘要
数字技术的深度嵌入,使电影艺术进入全新的文化逻辑之中。从影像的生产、传播到接受,技术的支配力不仅塑造了新的视觉形式,也深刻影响了电影的审美价值与文化意义。在这一过程中,电影不再只是静态的艺术文本,而是成为技术系统、数据逻辑与观众行为交互的动态媒介。因此,数字时代的电影批评,需要关注影像生产机制背后的技术架构,探讨技术在赋能创作的同时,如何挑战了艺术自主性与文化多样性;同时,面对算法主导的电影分发模式,应重新思考数字时代的“观看”本质,重构观众的主体性;另外,不应局限于单一的技术批判或文化分析模式,而应结合技术哲学、媒介理论与社会文化研究,形成跨学科的批评路径。
The deep embedding of digital technology has propelled film art into an entirely new cultural logic.From image production and dissemination to reception,the dominance of technology not only shapes new vis-ual forms but also profoundly influences the aesthetic value and cultural significance of cinema.In this process,film is no longer merely a static artistic text;rather,it has become a dynamic medium resulting from the interaction of technological systems,data logic,and audience behavior.Therefore,film criticism in the digital era needs to focus on the technological architecture behind the image production mechanism,ex-ploring how technology,while empowering creation,simultaneously challenges artistic autonomy and cultural diversity.Concurrently,faced with algorithm-dominated film distribution models,it should reconsider the essence of“viewing”in the digital age and reconstruct audience subjectivity.Furthermore,it should not confine itself to singular modes of critical theories of technology or cultural analysis,but rather integrate phi-losophy of technology,media theory,and socio-cultural studies to forge an interdisciplinary critical ap-proach.
作者
杨天东
Yang Tiandong(China Film Art Research Centre,Beijing,100875)
出处
《民族艺术研究》
2025年第3期53-60,共8页
Ethnic Art Studies
基金
2024年度国家社科基金艺术学重点项目“数字媒体生态下的电影观众与中国观影文化数据库建设研究”(项目批准号:24AC007)的阶段性研究成果。
关键词
数字电影
技术哲学
机械复制
技术座驾
世俗化
digital film
philosophy of technology
mechanical reproduction
Ge-stell
secularization
