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本文从移动影像的媒介本质入手,试图鉴别电影区别于其他媒介艺术形态的特征,即巴赞的影像本体。通过对透明性理论的三个充分必要条件进行论证后,认为只有具备机械的因果链、高度的相似性以及携带主体位置信息的移动影像才有可能透明,而通过具体案例的分析表明,无论是作为被保存的画面还是由摄像机取景器即刻捕捉到的画面,画面中的事物是疏离的景象,而不是客观世界的本身。因此我们无法通过银幕看穿客体对象;因此影像本体也不能成为移动影像的媒介本质以区别于其它媒介。在经典理论电影语境下理解巴赞的影像本体论,而透明性理论在现代电影理论的语境下,使我们对影像本体的认识更迈进一步,从而脱离了曾经一度认为的媒介本质主义的误区。
This dissertation begins with the media essence of mobile images and attempts to identify the characteristics of movies that distinguish them from other media art forms, namely, the image ontology of Bazin. After demonstrating the three necessary and sufficient conditions of transparency theory, it is considered that only mobile causal chains with mechanical similarity, high degree of similarity, and location information of the subject can be transparent. The analysis of specific cases shows that no matter As a saved picture or a picture captured immediately by the camera viewfinder, things in the picture are alienated rather than the objective world itself. Therefore, we can not see through the screen to see through the object of the object; therefore, the ontology can not become the media essence of the moving image to distinguish it from other media. To understand Bazin’s image ontology in the context of the classical theory of film, and in the context of modern film theory, the theory of transparency has taken us one step further in understanding the ontology of the image, and has departed from what was once thought of as the media essentialism Misunderstanding.