数码绘景的美学特征
发布时间：2018-11-15 21:04
【摘要】：和光学时代的遮罩绘景相比,数码绘景具有怎样的美学特征?本文试从合成、虚构、体视三方面进行探析。首先,数码绘景表现出连贯性和跨媒介的特征,图层合成的方式是"融合"而非"合并"。其次,数码绘景在突显影像"奇观化"发展趋势的同时,大大拓展了电影叙事的可能性,并为现实性的影片开拓出新的美学维度。再次,数码绘景利用三维技术中的优势与长处,令图层的处理更为信息化与合理化,也更符合观众立体视觉的审美习惯。本文也借由对数码绘景的探讨,质疑传统电影理论对于"照相本体论"的强调。
[Abstract]:Compared with the mask painting in the optical age, what aesthetic features does the digital painting have? This article tries to analyze from three aspects of synthesis, fiction and stereology. First of all, the digital scene shows coherence and cross-media characteristics. The way of layer composition is "fusion" rather than "merger". Secondly, the digital landscape not only highlights the development trend of image "wonder", but also greatly expands the possibility of film narration, and opens up a new aesthetic dimension for the realistic film. Thirdly, the digital painting makes use of the advantages and advantages of 3D technology, makes the processing of map layer more information and rationalization, and also more in line with the aesthetic habits of stereo vision of the audience. This paper also questions the emphasis of traditional film theory on photography ontology.
【作者单位】： 中国人民大学文学院;
【分类号】：J901
本文编号：2334455
[Abstract]:Compared with the mask painting in the optical age, what aesthetic features does the digital painting have? This article tries to analyze from three aspects of synthesis, fiction and stereology. First of all, the digital scene shows coherence and cross-media characteristics. The way of layer composition is "fusion" rather than "merger". Secondly, the digital landscape not only highlights the development trend of image "wonder", but also greatly expands the possibility of film narration, and opens up a new aesthetic dimension for the realistic film. Thirdly, the digital painting makes use of the advantages and advantages of 3D technology, makes the processing of map layer more information and rationalization, and also more in line with the aesthetic habits of stereo vision of the audience. This paper also questions the emphasis of traditional film theory on photography ontology.
【作者单位】： 中国人民大学文学院;
【分类号】：J901
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