数字技术语境中电影的真实性美学——从巴赞摄影影像本体论谈起

The Authenticity Aesthetics of Film in the Context of Digital Technology ——Starting from the Image Ontology on Movies of Bazin

随着数字虚拟成像技术在电影中的广泛运用,巴赞的电影美学理论受到了诸多质疑。数字化对传统电影的巨大冲击,使人们不得不重新思考"真实"在电影中的地位。实际上,当我们辩证地解读巴赞影像本体论,会发现他强调的是"真实观"而并非"真实的手段",这种"真实观"包含画面与心理的真实。因此,数字电影实际上是通过制造"以假乱真"的画面和符合观众的心理期待、产生心灵的意义来还原真实的本性。在延续传统电影真实美学的基础上,数字电影更是通过呈现实景所难以获得的场景效果、创造全新的电影语言风格、强化时空处理带来的视觉逼真、虚拟角色制造出英雄情结,来推进电影的真实性表达。而从当前的形势看来,唯有对画面真实与心理真实的共同把握,才能实现技术与艺术的完美结合,让中国的数字电影展现独特的魅力。

With the extensive use of virtual digital imaging technology in the film, the film aesthetic theory of Bazin has been questioned a lot. The tremendous impact of digitalization on traditional film has made the people reconsider the status of ＂authenticity＂ in the movie. In fact, when we interpret the photograph ontology on movies of Bazin dialectically, we will find that he emphasizes ＂view of reality＂, which embodies the authenticity of photograph and psychology, rather than ＂genuine means＂. Therefore, actually, the digital movies are making photographs which mix the spurious with the genuine and meet the expectations of the audience and resonant meanings to restore the authenticity. Digital movies promote the authenticity expression through displaying the scene which cannot be obtained in reality, creating a brand-new style of film language, strengthening the visual fidelity caused by the temporal and spatial processing, producing a hero complex by virtualizing characters, based on continuing the authenticity aesthetics of the traditional film. However, it seems that only by grasping the authenticity of photograph and psychology can we realize the perfect combination of technology and art, so as to show the unique charm of China’s digital movie from the current situation.