摘要
19世纪末以来,电影的发明使得活动影像成为技术与文化的双重载体,人们经由视觉影像对世界进行感知、读取、阐释或再现的能力被不断强化,舞蹈与电影两种艺术媒介的相遇成为不可避免的创作趋势。随着影像媒介的介入,以往作为传统舞台与剧场艺术的舞蹈,其自身视听特性和创作边界均得以拓宽。在赛璐珞胶卷保存的动态影像中,舞蹈主体与拍摄主体之间的双重运动、互动与融合,影响着舞蹈与电影两种原本相对独立存在的艺术样态,逐渐完成着“舞蹈影像”作为一种独立语言的生产。在当代技术赋能与传播方式迭代的背景下,“舞蹈影像”亦不仅仅作为媒介景观,更作为一种文化参与式的艺术标识,推动着其以自身为主体的艺术影像逻辑建构。
Since the end of the 19th century,the invention of the movie has made the moving image a double carrier of technology and culture.People's ability to perceive,read,interpret,or reproduce the world through visual images has been continuously strengthened,making the encounter between the two artistic mediums of dance and cinema an unavoidable trend.With the intervention of video media,dance,which used to be a traditional stage and theater art,has broadened its own audiovisual characteristics and creative boundaries.In the moving images preserved on celluloid film,the interaction and fusion between the subject of dance and the subject of filming affects the two relatively independent art forms of dance and film,and gradually completes the production of"dance image"as an independent language.Under the background of contemporary technological empowerment and the iteration of communication methods,"dance image"is not only used as a media landscape,but also as a kind of cultural participatory art symbol,accelerating the construction of its own art image logic as the main body.
作者
刘祎祎
LIU Yi-yi(School of Creative Studies,Beijing Dance Academy,Beijing 100081,China)
出处
《北京舞蹈学院学报》
北大核心
2025年第3期18-26,共9页
Journal of Beijing Dance Academy
基金
北京舞蹈学院青年学术带头人培育项目“舞蹈跨学科交叉背景下‘中国故事与共同体建构’的艺术创新机制与产业实践路径研究”(项目编号0622076/006)阶段性成果。
