对于“影视合流”的提法,我以为应有一个恰如其分的理解,用文学批评的术语来说,即有一个“释意期待”的问题。无论古往今来中西内外,电影和电视总是两种不同的媒体,制作方式、接受过程及功能都有所不同。之所以发生电影同电视(而不是同其它媒体)的关系问题,是因为它们在同为视听手段这点上有着传播效果的高度亲近性,但这并不改变它们各自的独立本性,对“合流”的期待只是在“协调”、“配合”、“互补”等意义上去理解才有实际意义,指望“合流”为“合并”,电影电视成为一种媒体,或者企图用谁取代谁都是一种误解。为了说明“影视合流”互补协调的含义,我们不妨举电影在电视屏幕上播映,即将电视作为电影的另一种传播途径的历史作为例子。传统的电影概念将电影院视为影片发布的唯一场所,尽管电视的发明和普及明白无误地告诉人们电影又多了一个播放途径,但好莱坞大公司的总裁 For the formulation of “film and television convergence,” I think there should be a proper understanding. In the terminology of literary criticism, there is a question of “expressing expectation”. Regardless of both inside and outside China and the West, film and television are two different media outlets. Their production methods, acceptance processes and functions are different. The issue of the relationship between films and television (rather than other media) arises because of their close proximity to the means of audiovisual communication, but this does not change their respective independent nature, “Expectations are only meaningful in the sense of” coordination, “” cooperation, “and” complementarity, “and expect that” confluence “will be” merged “, that film and television become a medium or who should replace whoever is Misunderstanding. To illustrate the complementary meaning of ”film and television convergence", let us consider the history of television broadcasts on television screens, using television as another source of film transmission. The traditional concept of cinema movie theater as the only venue for the release of the film, although the invention and popularization of television plainly tells people that there is one more film playback, but the president of Hollywood companies