数字时代下对“电影是什么”的本体追问

Ontological Question about "What is Movie" in Digital Era

数字技术出现后,"影像本体论"是否还有在理论和实践中存在的价值?这一话题从诞生之初就吸引了国内外理论层面的广泛关注。本文认同技术革命带给电影形式与风格的重大影响,然而在牵涉"电影是什么"的论题上,笔者认为传统的"影像本体论"与当今的"数字美学"具有截然不同的阐发逻辑。如果说,两种方式在追寻电影绝对精神的道路上都存在不同程度的虚妄与偏离,那么这场争辩的最大价值就在于它最终以反思的姿态揭示出了电影作为文化文本的价值真实。

After the appearance of digital technology, the topic that whether ＂the image ontology＇ has the value of existence in theory and practice has attracted domestic and abroad theoretical attentions. This article recognizes the significant influence that the technology revolution brings to cinematic form and style. But in the case involving ＂what is movie＂, the author believes that the traditional ＂image ontology＂ and modern ＂digital aesthetics＂ have different analytical logics. If we say that both have different degrees of falsity and deviation in the pursuit of movie＇s absolute spirit, then the maximum value of this argument lies in that it ultimately reflects on and reveals the film＇s reality of value as cultural texts.