从摹仿到亲历:新媒体VR影像叙事特征的类别形态构建

From Imitation to Experience: Category Form Construction of VR Image Narrative Feature

随着以虚拟现实技术为手段的新兴媒介的出现,影像创作的界域极大拓宽,影像的叙事特征亦发生了翻天覆地的变化。由于以虚拟现实技术为平台的VR影像创作联通了电影、电视、游戏、装置艺术等诸多艺术形态,让原本传统的文艺叙事理论对这一新兴的数字媒体艺术失却了理论覆盖。在数字媒体艺术设计理论框架下,影像艺术的叙事法则已然被以VR技术为手段的新媒介重新塑造,完成了从古希腊时期的"摹仿叙事说"到VR影像的"亲历"叙事的嬗变,其所蕴含的数字美学无法抹去。籍此,依据媒介变革,对比分析传统影像叙事与VR影像叙事的差异,总结VR影像的叙事特征,归纳建构出镜像同距的视角介入、作者向观众叙事赋权、时空叙事的权重转换、场景隐喻的语法修辞等叙事特征的类别形态,为日益趋张的影像研究新疆域提供理论支撑。

With the emergence of new media using virtual reality technology, the boundaries of image creation have been greatly broadened, and the narrative features of images have also undergone tremendous changes. VR image cre- ation based on virtual reality technology connects many art forms such as film, TV, game and installation art, which makes the original traditional literary narrative theory lose its theoretical coverage of this new digital media art. Under the theoretical framework of digital media art design, the narrative law of image art has been reshape by new media with VR technology as the means, completing the transmutation from the ＂ imitation narration＂ in ancient Greece to the ＂live experience＂ narration of VR image, and the digital aesthetics it contains cannot be erased. Based on media transformation, this paper compares and analyzes the differences between traditional image narration and VR image narration, summarizes the narrative features of V1R image, and concludes and constructs the category forms of narrative features such as the interference of the mirror image from the same distance, the author＇s narration empowerment to the audience, the weight transfer of spatio - temporal narration, and the grammar and rhetoric of scene metaphor, provi- ding theoretical support for the increasingly expansive image study of new territories.