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回顾20世纪,我们会发现古老的戏剧艺术与作为现代艺术的影视尽管有着竞争关系,其实面临共同的命运。日新月异的高科技发展已把人类推进到“视觉文化”时代,影视虽有艺术时空自由这一优势,却也遭遇了网络技术、数字技术的挑战,致使原来建立在“影像真实”基础上的整个“电影美学”似已需要重新建构,影视的艺术本性有待重新定位。与此同时,戏剧在一个世纪以来也在经历“凤凰涅槃”式的剧烈变化,主客观的种种因素使戏剧家们颇有进退维谷之感。如今比之强调戏剧、电影、电视剧三者各自的特点,对它们在视觉文化时代的诗学这一共同课题的探讨,似更显得重要而迫切。
In retrospect of the 20th century, we will find that the ancient theater art and the modern art film actually face a common destiny despite their competitive relationship. The ever-changing high-tech development has advanced mankind to the age of “visual culture.” Despite the advantage of freedom of art in time and space, film and television has also encountered the challenges of network technology and digital technology. As a result, the entire film based on “real image” “Movie Aesthetics” may need to be reconstructed, and the artistic nature of film and television needs to be repositioned. At the same time, drama has undergone a dramatic change in the style of “Phoenix Nirvana” for a century, and various factors of subjective and objective make the dramatists feel a sense of advancing and retreating. Nowadays it is more important and urgent to discuss the common features of drama, film and TV drama than to discuss their common problems in the visual culture era.