技术美学视域下沉浸式影视作品的颠覆与创新

Subversion and Innovation in Immersive Film and Television Productions in Visual Threshold of Technological Aesthetics

摘要: 在数字技术时代的赋权下，影视艺术的美学形态发生颠覆式的改变，沉浸式媒体所生产的影视作品，筑造出一种崭新的奇观式的感官体验。沉浸式影视作品力求制造一种“超现实”的艺术景观，存在于人脑海中的具有想象力的画面，在技术的协助与介入下成为了实实在在可感知的场域。虚实世界的边界被打破。受众不再是影视艺术的旁观者，而是被放置在真实可感的环境中的体验者。数字技术让沉浸式影视作品的互动不再仅仅是短暂的交互体验，而是真正暂时“生存”在影视作品中，受众因此获得了一定程度上的改变叙事的权力。趋近于零的审美距离一方面增加了受众对影视作品的短暂的移情与共情，而另一方面削弱了受众反思的能力。从表面上看，这些观众获得了更多的权力和自由。但是实际的情况下，这些观众或许更容易被影视作品中所呈现的意义建构所规训。

Abstract: Empowered by the age of digital technology, the aesthetic morphology of film and television art has undergone a disruptive change, immersive media producing films and television that create a new kind of spectacle-like sensory experience. Immersive film and television productions seek to create a “surreal” artistic landscape, where the imaginative images that exist in the human mind become real and perceptible fields with the assistance and intervention of technology. The boundaries between the real and the imaginary world are broken down. The audience is no longer a spectator to the art of film and television, but an experiencer placed in a realistic and perceptible environment. Digital technology allows the interaction in immersive film and television productions to actually “live” in the film and television productions temporarily, not merely to be a transient interactive experience, and giving the audience the power to alter the narrative to a certain extent. The near-zero aesthetic distance, on the one hand, increases the audience’s transient empathy and communion with the film and television production, while on the other hand, it weakens their capacity for reflection. On the surface, these audiences are given more power and freedom. In reality, however, these audiences are perhaps more easily to be disciplined by the constructs of meaning presented in the film and television.