新媒介创意、后人类伦理与后工业美学范式建构——黄鸣奋科幻电影理论研究的东西交响与现代变奏

New Media Creativity,Posthuman Ethics and Post-industrial Aesthetic Paradigm Construction:East-West Symphony and Modern Variations in Huang Mingfen's Study of ScienceFiction Film Theory

黄鸣奋科幻电影研究的理论资源主要来自他早年从事艺术心理学、艺术传播学、新媒体艺术理论等研究,以及由此所形成的新媒体文艺及其“传播九要素”理论的跨学科再发现。科幻电影理论研究成为新世纪以来人文学术研究领域中的“显学”,黄鸣奋这方面的学术耕耘在延续了他此前的学术脉络和方法路径的基础上进行了大胆的自我突破与理论创新。他以跨学科方法为依据,博采自然科学、人文科学、社会科学方法之长构建兼具中国特色与国际视野的数字人文研究体系。他从艺术心理学和艺术传播学领域转场试水新媒介创意、后人类伦理、流衍宇宙和后工业美学等多元话语范式,构建了既涵盖中西学术理论交响又凸显现代科学理性特征的科幻电影批评阐释话语体系,为中国式人文社会科学理论范式体系转型与变奏做出了重要贡献。

Huang Mingfen's theoretical resources in science fiction film studies primarily stem from his early work in art psychology,art communication,new media art theory,and the interdisciplinary rediscovery of new media literature and arts,particularly the"nine elements of communication"theory.Science fiction film theory has emerged as a"prominent field"in humanities scholarship since the new century,and Huang's academic endeavors in this area represent a bold self-transcendence and theoretical innovation,building upon his previous academic trajectory and methodological approaches.Huang employs an interdisciplinary methodology,integrating the strengths of natural,humanities,and social science approaches to construct a digital humanities research system that combines Chinese characteristics with an international perspective.Transitioning from art psychology and art communication,he ventures into new media creativity,post-human ethics,an evolving universe,and post-industrial aesthetic paradigms,establishing a multifaceted discursive system.This system not only encompasses an interplay between Eastern and Western academic theories but also highlights the modern scientific rationality of science fiction film criticism and interpretation.Huang's work significantly contributes to the transformation and variation of Chinese-style humanities and social science theoretical paradigms.