论观众对魔幻电影的真实性审美感受——以皮亚杰“认知图式”理论为依据

Discussion on the Audience’s True Aesthetic Perception of the Fantasy Film——Based on Piaget’s "Cognitive Schema" Theory

魔幻电影作为现代电影新的类型片,近几年成为全球票房的新宠,受到观众的广泛欢迎。魔幻电影一般是以魔幻、志怪、神话故事为原型改编,具有光怪陆离的人物形象和故事情节,并且有着很强的善恶冲突,是对现实的一种夸张化的隐晦再现。近些年中国电影也开始探索魔幻电影的创作,但效果并不理想。中国魔幻片的发展与西方差距巨大主要在“艺术真实性”上。根据皮亚杰“认知图式”理论,魔幻电影的艺术真实性直接表现为观众“认知图式”和审美对象——魔幻电影之间“顺应”和“同化”作用的平衡。由观众“认知图式”的“同化”作用而表现的“真实性”感受,具体表现在魔幻电影的主题、叙事和情感三个方面。而中国近些年上映的魔幻片令人诟病之处也在这三个方面偏离了观众原有“认知图式”,而产生“非真实”的审美感受。

As a new type of modern film, fantacy movie has become the new favorite of the global box office in recent years and has been widely welcomed by the audience. Fantacy movies are generally based on fantasy, geek, and mythological stories. They have whimsical characters and storylines, and have strong conflicts of good and evil. They are an exaggerated reappearing of reality. In recent years, Chinese movies have also begun to explore the creation of fantacy movies, but the results are not satisfactory. The gap between the development of China's fantacy film and the West is mainly in the "art authenticity." According to Piaget's "cognitive schema" theory, the artistic authenticity of thefantacy film is directly expressed as the balance between the "cognitive schema" of the audience and the aesthetic object - the "compliance" and "assimilation" between the fantacy films. The "authenticity" feeling expressed by the "assimilation" effect of the viewer's "cognitive schema" is embodied in the three themes of the theme, narrative and emotion of the magical film. The mysterious scenes of the fantacy films released in China in recent years have also deviated from the audience's original "cognitive schema" in these three aspects, and produced a "non-real" aesthetic feeling.