从“心眼”到“肉眼”:中国早期观影空间的现代视觉机制研究

From“Mind’s Eye”to“Naked Eye”:A Study of Modern Visual Mechanism of Early Movie Viewing Spaces in China

观影的空间问题与视觉问题是密切关联的,但现有研究对于中国早期观影空间的视觉文化还缺乏足够的关注。从中西之间不同的现代视觉机制比较到中国早期观影空间的视觉现代性实践,可以看到以“心眼”为主导的传统视觉机制已经逐渐转变为以“肉眼”为主导的现代视觉机制。这种视觉机制以大众化的市民为观看主体,以杂耍式的电影为观看对象,以主客割裂的流动性视觉为观看方式,并在中国与西方、传统与现代的文化碰撞中不断丰富自身的外延与内涵。以“肉眼”为主导的现代视觉机制使得通过“心眼”静观、游观所体验到的物我两忘、天人合一之感逐渐消散,却也将视觉感受还原到社会中具体的个人,并在启蒙现代性与审美现代性双重层面上赋予其新的价值和意义。

The spatial and visual issues of film viewing are closely related to each other,but the existing research lacks sufficient attention to the visual culture of early Chinese viewing space.By comparing different modern visual mechanism between China and the West and examining visual modernity practice in early Chinese film viewing space,it can be seen that the traditional visual mechanism dominated by the“mind’s eye”has gradually transformed into a modern visual mechanism dominated by the“naked eye”.This modern visual mechanism takes the popular public as the primary viewers,entertainment-style films as the viewing objects,and the mobile vision of the separation of subject and object as the viewing method.It constantly enriches its own extension and connotation in the cultural collision between China and the West,tradition and modernity.The modern visual mechanism dominated by the“naked eye”dissipates the sense of self-forgetfulness and unity of man and nature experienced through contemplation and leisurely observation with the“mind’s eye”.However,it also restores the visual experience to the specific individuals in the society,and endows them with new value and significance at the dual level of enlightenment modernity and aesthetic modernity.