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电影一直与绘画有着不解之缘,20世纪上半叶当电影工业毫不费力地通过机械镜头让在电影中出现的绘画艺术不再以其艺术的独创性和膜拜价值来衡量时,纯粹的艺术功能渐渐成为电影附带性的效能。本文力图通过绘画在电影传播中三个不同时期的定位来探寻:随着机械复制的普及和消费时代图像符号化、虚拟化、游戏化的趋向,绘画艺术在电影传播中的价值逐渐边缘化并消解。
The film has always had an indissoluble bond with painting. In the first half of the twentieth century, when the film industry effortlessly manipulated the mechanical art of painting in the film no longer measured by the ingenuity and cult of its art, Art features have gradually become attached to the performance of the movie. This article seeks to find its way through three different phases of filmmaking: the popularity of mechanical copying and the tendency of image-based, virtualization and gamification in the consumer era, Digestion.