摘要
虚拟现实影像作为一种“情动—影像”机制,源自身体对信号的整合,触觉认知带来的身体经验使纪录片产生了远比文学艺术强烈的“移情”效应。虚拟现实内容的沉浸性以“去中介化”营造在场感,以“交互性”搭建互动叙事,以“想象性”在虚拟空间中获得“具身感”,这是移情效应从“技术”到“审美”的内在逻辑。从技术维度考量,观众感官不适、画框消失带来的聚焦问题,一定程度上造成移情效应的损减。从内容和文化角度看,虚拟现实系统中的“真实”由创作者与体验者共同构建,应重视“非虚构”与“影像正义”的媒介规约,个体经验结构和文化圈层差异难以改变VR纪录片接受中的观念偏见,虚拟现实技术赋予纪实性内容的价值和功能应被审慎看待。
Virtual reality as an“image-affection”originates from the integration of signals by the body.The body experience brought by tactile cognition facilitates empathy in documentaries than in literature and art.The immersion of virtual reality content creates a sense of presence through“disintermediation”,interactive narratives through“interactivity”,and“embodiment”through“imagination”in virtual space.This is the internal logic of the empathy effect from“technology”to“aesthetics”.From a technological perspective,the focus issues caused by audience sensory discomfort and the disappearance of picture frames can to some extent reduce empathy.From the perspective of content and culture,the“reality”in virtual reality is jointly constructed by the creator and the user,and the nonfictional feature of documentaries and media ethical issues should be taken seriously.Individual experience structure and cultural circle differences are difficult to change the conceptual bias in the reception of VR documentaries.The value and function of the documentary content given by virtual reality technology should be viewed in discreetly.
出处
《中国文艺评论》
CSSCI
2023年第8期29-38,I0002,共11页
China Literature and Art Criticism
基金
2022年度国家社科基金艺术学项目“智媒时代视听内容生产与价值体系建设研究”(项目批准号:22BC045)的阶段性成果。