摘要
早期"无知的"观众触摸银幕这一带有媒介自我指涉意味的行为,是探讨欧洲文化史和艺术史中与"screen"有关的"感官等级"问题的重要切口,艺术和文化实践中曾出现过从鼓励"手触"到必须"抽手"的文化惯例演变。14世纪初至20世纪初,与各类可触摸平面相关的"screen"义项具有多重历史内涵。相比于视觉特征,我们应当对早期电影银幕的"触感特性"予以更多的强调,因为它不仅同早期的观影文化存在关联,更与当下的"后电影化"(post-cinematic)的交互概念存在诸多交叉点。
The early"ignorant"audience touching the screen,which embodies media self-reference,is an important incision to explore the problem of"sensory level"related to"screen"in the history of European culture and art.Cultural practice has evolved from encouraging"hand touch"to"hand pulling"in the practice of art and culture.From early 14^(th) century to early 20^(th) century,the meaning of"screen"related to various touchable planes has multiple historical connotations.Compared with visual features,more attention should be paid to the"tactile characteristics"of early film screen,because it is not only related to early film viewing culture,but also has many intersections with current"post cinematic"interactive concept.
出处
《上海文化》
CSSCI
2021年第10期100-111,120,共13页
Shanghai Culture
基金
国家社科基金艺术学青年项目“中外电影交流史研究(1896—1949)”(项目号:21CC179)的阶段性研究成果。
