景观电影的视觉文化批判与重塑

The Criticism and Reshaping of Spectacle Movies from Visual Culture Perspective

20世纪末,景观电影以其电脑特技营造的恢弘气势和壮阔场面让无数受众叹为观止,拟像达到了一种完美,技术主宰着景观电影,导演着超真实的虚拟现实。数字技术在电影工业中大行其道并有拔得头筹的征兆,影像奇观逐渐主导甚至遮蔽传统的电影叙事并有凌越真实与叙事的可能,技术符号的"狂欢"与视觉画面的完美融合虽然建构了景观电影表现力的炫目张扬,但在被幻像、幻觉充斥的真实世界里,当代视觉文化建设亟需倡扬回归叙述、回归电影本真的美学传统,在充满人文关怀的当代语境中,从视觉文化角度对景观电影进行学理的批判与重塑显得日益紧迫。

In the late twentieth century, it made innumerable audiences acclaim as the peak of perfection that the spectacle movies could create such grand scenes by digital effect. Simulation worked almost flawlessly and technology dominated the spectacle movies, leading to the virtual reality which was actually a kind of hyper - reality. On the one hand, digital technology was growing more popular in film industry. On the other hand, spectacle movies gradually took the place of and even surpassed tradition movies. The carnival of technical symbols combined with virtual images perfectly, which constructed the dazzling expression of spectacle movies. However, when the real world was full of virtual images and illusion, the construction of contemporary visual culture desiderated to return to the narrative and the aesthetic tradition of movie itself. So, the criticism and reshaping of spectacle movies from the perspective of visual culture is becoming increasingly urgent under the contemporary context which is full of humanistic care.