摘要
与《楚门的世界》作为大众媒介时期的流行文化体现不同,《头号玩家》和《失控玩家》带有后大众媒介时代的主体特征和文化特征。从楚门逃离虚假的媒介环境到韦德主动进入虚拟世界及数字孪生盖伊的奔向乌托邦,“技术态身体”的韦德和“无器官身体”的盖伊进一步使现实参照物销声匿迹。“彩蛋”的大量应用强化了青年亚文化的群体语言,也使影游合一的电影在增强娱乐性与流行性的同时,复刻了大众文化的价值体系。电影实践要想更深入地回应虚拟现实技术的后人类命题,光有游戏自由的主题及遁世的价值指向显然是不够的。
Unlike The Truman Show as a popular cultural expression in the context of mass media,Ready Player One and Free Guy have the characteristics of the post mass media era.The escape from the artificial environment in The Truman Show and the entering the virtual reality in Ready Player One,along with Guy's pursuit of digital utopia,these changes embodied in“technical body”and the“body without organs”further make the reality vanish.The application of Easter eggs has not only strengthened the characteristics of the youth subculture,but also reproduce the value of popular culture while enhancing entertainment and popularity.If movies want to respond more deeply to post human topics related to virtual reality technology,it is not enough to only have the theme of game freedom and the value of seclusion.
出处
《浙江艺术职业学院学报》
2023年第1期62-68,96,共8页
Journal of Zhejiang Vocational Academy of Art
基金
浙江省哲学社会科学规划课题重点项目“人机融合视域下的具身传播研究”(22NDJC008Z)
国家社科基金后期资助项目“人机技术重塑媒介与技术研究”(21FXWB012)的阶段性成果。
关键词
后媒介时代
技术态身体
无器官身体
价值复刻
post media era
technical body
body without organs
value reproduction
