CG影像艺术的真实感研究
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摘要
CG（computer graphics）影像是用计算机图形技术生成的影像，被广泛应用于科学展示、工业设计、医学显像、虚拟现实、影像艺术等领域，本文所要研究的是影像艺术中的CG影像。
本文以照片真实感作为CG影像艺术研究的入口，基本观点是：真实感是CG影像区别于传统影像的基本点，其特殊性在于，尽管没有拍摄对象，却要在外观上极力追求和照片一样的视觉效果。照片真实感是一种没有真实性的真实感，由于没有实存对象，在CG影像中进行了一场从照片真实性到照片真实感的转化，传统摄影中对象和影像的存在关系传化为一种想像关系，从而达到一种与传统影像类似的观感效果。CG影像的真实感有四个层次：视觉层、感知层、技术层和现实层。视觉层上的CG影像的真实感是一种综合性的真实感，它以照片真实感为视觉标准，综合了视觉真实、物理真实和制度真实。从感知层上看，照片真实感是一种在场感，它贯穿于整个观看活动。CG影像的观看是一种想象活动，在场感保证了它的进行，视觉经验通过这种想象活动积累，完满，升华，最终达到一种审美感知。但是，CG影像真实感的局限在于，在人身模拟等领域，它无法获得如传统影像一般的生命力。从技术层上看，这是由于计算机工具的特殊性所造成的，但根本上却在于人工与自然无法逾越的鸿沟。现实性是真实感的升华与终极体现，它通过对真实世界的渗透，将原本属于幻想世界的虚拟影像在真实世界中实现出来，并有能力和真实世界进行置换。但是，在现实性的背后，却隐含着一种权力的操纵。
全文依据“CG影像的历史与地位—技术特性与艺术特性—照片真实感—真实感与生命力—从真实感到现实化”的线索论述。第一章是对CG影像的一个全面观照，从CG影像的历史发展、定位、技术特性和艺术特性，为全文的论述做一个铺垫。第二章和第三章研究照片真实感的感知结构，分析真实感中的“真实”之结构和“感”之结构。第四章和第五章则从技术本角度，论述CG影像真实感的局限性。第六章是全文的升华，CG影像从真实感到现实性的进化才是其真实感的终极体现。文章最后，进一步思考了技术话语和美学话语之间的关系和未来发展。
目前，对CG影像艺术的研究，大部分仍然停留在传统影像理论的范围内，研究者大都采用写实主义、错觉、情感等传统命题来进行研究，存在着技术性研究和艺术性研究的分离、认知研究和审美感知研究的分离。本文试图摆脱传统影像研究的理论框架，通过技术性与艺术性研究的结合和真实感与现实性研究的结合，来分析这种全新的影像形式，开启一次独属于CG影像艺术的探讨之旅，希望能对当下CG影像和新媒体的研究起到启发作用。
CG (computer graphics) image is an image generated by computer graphics. Ithas been used widely in science show, industrial design, medical imaging, virtualreality, film art and so on. This dissertation focuses on the CG image in film art.
The dissertation takes photorealism as the entry to CG image art. The realism ofCG image is its main difference to traditional image. Although there is no object taken,CG image has to persue the visual effects as photos. Photorealism is a kind of realism.There exists a transformation from reality to photorealism. The existent relations intraditional photographs have been changed to imaginative relations, so as to reach akind of visual effects as photographs. Photorealism has three layers, visual layer,perceptual layer, technical layer and reality layer. In visual layer, it is a kind ofsynthetic realism of visual realim, physical realism and system realism. In perceptuallayer, it is a kind of present feeling, which runs through the whole process of a filmexperience. Seeing of CG image is an imaginative activity, the present feeling ensuresits running, and visual experiences accumulate and sublime to reach a kind ofaesthetic feeling by imaginative activity. But the main limitation of CG image is that itcan’t reach the vitality as traditional photograph in human simulation. From thetechnical layer, this is impassable gulf because of the specificity of computer tool.Reality is the ultimate expression of photorealism. It makes something of virtualimages into the real world, and has the ability of replacement through osmosis.
The dissertation is organized as the thread of “development and status of CGimage-technology and art characteristics–photorealism–realism and vitality–fromrealism to reality”. The first chapter is an overview of the development, positioning,technology and art characteristics, the second and third chapters are the analysis ofreality and feeling in CG image respectively, the forth and fifth chapers discusses thelimitations of realism from technical point of view, and the last chapter is asublimation of the whole dissertation. Finally the relation and future development oftechnology and aesthetics are investigated.
Nowadays, much research of CG image art still exists in the scope of traditionimage theory, and most researchers adopt theories of realism, illusion and emotion.There exists the separation between technology and art researches, and also theseparation of cognition and aesthetics. The dissertation trys to break through thesetraditional theoretical frameworks, and develops a unique investigation and researchof CG iamge to provide a positive impact to CG image and new media.
本文以照片真实感作为CG影像艺术研究的入口，基本观点是：真实感是CG影像区别于传统影像的基本点，其特殊性在于，尽管没有拍摄对象，却要在外观上极力追求和照片一样的视觉效果。照片真实感是一种没有真实性的真实感，由于没有实存对象，在CG影像中进行了一场从照片真实性到照片真实感的转化，传统摄影中对象和影像的存在关系传化为一种想像关系，从而达到一种与传统影像类似的观感效果。CG影像的真实感有四个层次：视觉层、感知层、技术层和现实层。视觉层上的CG影像的真实感是一种综合性的真实感，它以照片真实感为视觉标准，综合了视觉真实、物理真实和制度真实。从感知层上看，照片真实感是一种在场感，它贯穿于整个观看活动。CG影像的观看是一种想象活动，在场感保证了它的进行，视觉经验通过这种想象活动积累，完满，升华，最终达到一种审美感知。但是，CG影像真实感的局限在于，在人身模拟等领域，它无法获得如传统影像一般的生命力。从技术层上看，这是由于计算机工具的特殊性所造成的，但根本上却在于人工与自然无法逾越的鸿沟。现实性是真实感的升华与终极体现，它通过对真实世界的渗透，将原本属于幻想世界的虚拟影像在真实世界中实现出来，并有能力和真实世界进行置换。但是，在现实性的背后，却隐含着一种权力的操纵。
全文依据“CG影像的历史与地位—技术特性与艺术特性—照片真实感—真实感与生命力—从真实感到现实化”的线索论述。第一章是对CG影像的一个全面观照，从CG影像的历史发展、定位、技术特性和艺术特性，为全文的论述做一个铺垫。第二章和第三章研究照片真实感的感知结构，分析真实感中的“真实”之结构和“感”之结构。第四章和第五章则从技术本角度，论述CG影像真实感的局限性。第六章是全文的升华，CG影像从真实感到现实性的进化才是其真实感的终极体现。文章最后，进一步思考了技术话语和美学话语之间的关系和未来发展。
目前，对CG影像艺术的研究，大部分仍然停留在传统影像理论的范围内，研究者大都采用写实主义、错觉、情感等传统命题来进行研究，存在着技术性研究和艺术性研究的分离、认知研究和审美感知研究的分离。本文试图摆脱传统影像研究的理论框架，通过技术性与艺术性研究的结合和真实感与现实性研究的结合，来分析这种全新的影像形式，开启一次独属于CG影像艺术的探讨之旅，希望能对当下CG影像和新媒体的研究起到启发作用。
CG (computer graphics) image is an image generated by computer graphics. Ithas been used widely in science show, industrial design, medical imaging, virtualreality, film art and so on. This dissertation focuses on the CG image in film art.
The dissertation takes photorealism as the entry to CG image art. The realism ofCG image is its main difference to traditional image. Although there is no object taken,CG image has to persue the visual effects as photos. Photorealism is a kind of realism.There exists a transformation from reality to photorealism. The existent relations intraditional photographs have been changed to imaginative relations, so as to reach akind of visual effects as photographs. Photorealism has three layers, visual layer,perceptual layer, technical layer and reality layer. In visual layer, it is a kind ofsynthetic realism of visual realim, physical realism and system realism. In perceptuallayer, it is a kind of present feeling, which runs through the whole process of a filmexperience. Seeing of CG image is an imaginative activity, the present feeling ensuresits running, and visual experiences accumulate and sublime to reach a kind ofaesthetic feeling by imaginative activity. But the main limitation of CG image is that itcan’t reach the vitality as traditional photograph in human simulation. From thetechnical layer, this is impassable gulf because of the specificity of computer tool.Reality is the ultimate expression of photorealism. It makes something of virtualimages into the real world, and has the ability of replacement through osmosis.
The dissertation is organized as the thread of “development and status of CGimage-technology and art characteristics–photorealism–realism and vitality–fromrealism to reality”. The first chapter is an overview of the development, positioning,technology and art characteristics, the second and third chapters are the analysis ofreality and feeling in CG image respectively, the forth and fifth chapers discusses thelimitations of realism from technical point of view, and the last chapter is asublimation of the whole dissertation. Finally the relation and future development oftechnology and aesthetics are investigated.
Nowadays, much research of CG image art still exists in the scope of traditionimage theory, and most researchers adopt theories of realism, illusion and emotion.There exists the separation between technology and art researches, and also theseparation of cognition and aesthetics. The dissertation trys to break through thesetraditional theoretical frameworks, and develops a unique investigation and researchof CG iamge to provide a positive impact to CG image and new media.
引文
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①DLP：Digital Light Processor，美国德州仪器（TI）公司开发的专门的数字微镜芯片（DMD）。
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①Ampex是一家美国的存储设备制造商，1944年成立，曾开发出美国第一款实用的录音磁带和录像磁带。
②Dominic Case, Film Technology in Post Production, Oxford: Focal Press,2001, p13.
①王亚明：《新一代数字摄影机技术》，《现代电影技术》2011年第12期，第17～30页。
②现象网：《高清拍摄技巧》，http://fanhall.net/news/entry/7476.html。
③时光网：《胶片已死，数字为王电影全面告别胶片时代？》，http://news.mtime.com/2011/10/31/1474183-5.html。
①Dominic Case, Film Technology in Post Production, Oxford: Focal Press,2001.
②叶静：《从数字中间片到纯数字电影》，《现代电影技术》2008年第1期，第19～24页。
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①王亚明：《数字摄影机之梦（连载1）》。
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①特效合成软件非常多，代表性的有：AfterEffects、Fusion、Shake、5dcyborg、Boujou、Flame、AssimilateScratch、Avid Media Illusion、D2Nuke、Discreet Combustion、Discreet Edit、Kcirasoft Roach、Nothing Real Shake、Nucoda FilmMaster、Commotion、Pinnacle Studio、Piranha Cinema等。
①新浪网：《首部DLP数字电影“快乐的大脚”首次在沪登陆》，2007年1月29日，http://sh.news.sina.com.cn/20070129/144072560.shtml。
②据“数字电影与胶片电影的比较”（《中卫日报》2008年6月25日第六版）绘制。
③Brian McKernan, Digital Cinema: The Revolution in Cinematography, Postproduction, andDistribution, MCGraw-Hill,2005.
④新华网：《传媒蓝皮书:2012年电影市场年均增幅领跑世界》，2013年4月28日，http://news.xinhuanet.com/newmedia/2013-04/28/c_115588742.htm。
②《胶片已死，数字为王——电影全面告别胶片时代》。
③叶静：《从数字中间片到纯数字电影》，《现代电影技术》2008年第1期，第19～24页。
④Debra Kaufman,“Film Fading to Black”,http://library.creativecow.net/kaufman_debra/magazine_27-Film-Fade-to-Black/1.
⑤RED ONE是Red公司（即瑞德数位电影摄影机公司）的数字摄影机产品。该公司成立于2005年，是美国一家专门为专业级电影用数码摄影开发摄影机的厂商。
①“SOC Taps ALEXA for Technical Achievement”,http://www.arri.de/cn/news/soc-taps-alexa-for-technical-achievement/.
②时光网：《柯达申请破产引出电影业思考数字化制作成流行》，http://news.mtime.com/2012/01/21/1480383.html。
③Los Angeles Times: End of film: Paramount first studio to stop distributing film prints, Jan.17,2014,http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-paramount-digital-20140117,0,5245137.story#ixzz2w8ctMkOx.
①新浪网：《美国胶片电影淘汰加速，派拉蒙将只发数字》，http://ent.sina.com.cn/m/f/2014-01-21/10404085259.shtml。
②方捷新，刘达等：《中国数字影院发展十年综述》，《现代电影技术》2011年第10期，第12～17页。
③时光网：《中国拥有数字银幕8393块仅次美国位居世界第二》，http://news.mtime.com/2012/10/22/1499727.html。
④凤凰网：《卡梅隆豪购50部RED摄影机，<阿凡达2>再突破？》，http://digi.ifeng.com/dc/detail_2011_04/27/6019843_0.shtml。
⑤《胶片已死，数字为王——电影全面告别胶片时代》。
①这部影片使用了一项新的特效，即环幕投影。开拍前，导演派人远赴夏威夷毛伊岛的哈雷阿卡拉火山顶，用三部摄像机，以1080P全高清及120度全景的模式拍下由日出到日落的天色变化。然后把这些景象全息投影到环绕着场景的巨幕上，这样足不出户实现了高空外景拍摄。这种方法效果惊人，投影与场景搭配得天衣无缝，演员不用对着蓝布幕表演，而是身临其境地云端漫步。见《<遗落战境>曝天空塔花絮，揭秘高科技》，http://ent.sina.com.cn/m/f/2013-05-08/09563915416.shtml。
②Debra Kaufman,“Film Fading to Black”,http://library.creativecow.net/kaufman_debra/magazine_27-Film-Fade-to-Black/1.
③John Belton,“Digital Cinema: A False Revolution”，October，2002，no.100，pp.98-114.
①Wayne Carlson, A Critical History of Computer Graphics and Animation. The Ohio State University,2003.
②Ivan Sutherland, Sketchpad: A Man-Machine Graphical Communication System.
③Sketchpad奠定了Sutherland作为“计算机图形学之父”的基础，Sutherland也因此获得了1988年的图灵奖和2012年的京都奖。也是在1963年，Doug Englebart发明了鼠标，Maurice Coons提出了Coons曲面……
④Kelley J.P. Lindberg，Pioneers on the Digital Frontiers,http://continuum.utah.edu/2006winter/feature3.html.
⑤Inventor of the Week Archive, http://web.mit.edu/~invent/iow/sutherland.html.
⑥CGI Historical Timeline, http://design.osu.edu/carlson/history/timeline.html.
①Early Influences and Significant Early Computer Graphics Artists and Scientists,http://mysite.pratt.edu/~llaurola/cg550/CG.htm.
②王欣东，崔军：《电脑在电影动画和特效中的应用历程回顾》，《电影评介》2010年第14期，第69～71页。
③李念芦：《影视技术概论》，中国电影出版社1998年版，第212页。
①《西部世界》是中国引进的第一部美国科幻片，当时翻译为《血洗乐园》，对八十年代的内地观众来说可谓既震惊又紧张的佳作，尤·伯连纳扮演的机器人杀手给观众留下深刻的印象。
②A short computer-generated imagery (CGI) history，2011年5月11日，http://computerstories.net/a-computer-generated-imagery-cgi-history/#_。
①Geoff King, Spectacular narratives: Hollywood in the age of the blockbuster, NewYork:I.B.Tauris&Ltd,2000.
①Rudolf Arnheim，Film As Art，London: University Of California Press，1957, p.8-31.
②Rudolf Arnheim，Film as Art，Berkeley：University of California Press，1957, p.20.
①Roger Scruton，“Photography and Representation”，in A Neil and A Ridley eds，Arguing aboutart：Contemporary Philosophical Debates, New York: McGraw-Hill,p.89-113.
①Roger Scruton，“Photography and Representation”，in A Neil and A Ridley eds，Arguing aboutart：Contemporary Philosophical Debates, New York: McGraw-Hill,p.89-113.
②Roger Scruton，“Photography and Representation”，in A Neil and A Ridley eds，Arguing aboutart：Contemporary Philosophical Debates, New York: McGraw-Hill,p.89-113.
③W king，“Scruton and reasons for loolking at photograph”，in A Neil and A Ridley （eds），Arguing about art：Contemporary Philosophical Debates,New York: McGraw-Hill,p114-121.
①Bery Gaut, A philosophy of cinematic art, p.43.
①William Mitchell, The Reconfigured Eye: Visual Truth in the Post-Photographic Era, p.4.
①Thomas Elsaesser,“Louis Lumiere: the cinema's first virtualist?” In Thomas Elsaesser andKay Hoffmann (ed.), Cinema Futures: Cain, Abel or Cable? The Screen Arts in the Digital Age,Amsterdam: Amsterdam University Press,1998, p.45.
②Francois Truffaut,“A certain tendency of ttie French cinema”, in Bill Nichols （ed）, Moivesand Methods，Berkeley, CA: University of California Press,1976, pp.224-p237.
④Fereydoun Hoveyda,“Nicholas Ray's reply: Party Girl”, in Jim Hillier (ed) Cahiers du cinema.the1960s Cambridge, MA: Harvard University Press,1986, p.123.
①[美]汤姆·冈宁著：《吸引力电影，早期电影及其观众与先锋派》，范倍译，《电影艺术》2009年第2期，第61～65页。
②David Bordwell,Janet Staiger and Kristen Thompson,The classical Hollywood cinema：film styleand mode of production to1960,
①Yvonne Tasker，Spectacular bodies：Gender，Genre and the Action Cinema, Routledge,1993, p.9.
②Geoff King, Spectacular narratives: Hollywood in the age of the blockbuster, NewYork:I.B.Tauris&Ltd,2000.
③Kristin Thompson, The concept of cinematic excess，Cine-Tracts，vol.1, no.2,1977.
①Yvonne Tasker，Spectacular bodies：Gender，Genre，and the Action Cinema,p.6.
①Brooks Landon, The Aesthetics of Ambivalence: Rethinking Science Fiction Film in the Age ofElectronic Reproduction, London: Greenwood Press,1992,p.86.
②Robin Wood, Hollywood from Vietnam to Reagan and Beyond, NewYork: Columbia University Press,2003, p.102.
①Kendall Walton，Miemis as Make–Believe，Cambridge: Havard University Press,1990, p.102.
②Dai Vaughan, For Documentary：Twelve Essay, Berkeley: University of California Press,1999,pp.181-192.
③唐建军：《摄影机的看与眼睛的看》，《福建艺术》，2007年第1期，第59~61页。
①皮尔士的object也就是Jakobson的referent，Lev manovich也用referen来指object。
②Daniel Chandler,Semiotics for Beginners,http://www.aber.ac.uk/media/Documents/S4B/sem02.html
①关于index和摄影关系的文章可见于Tom Cunning“What is the point of an index？or，fakingphotograph”，Mary Ann Doane“The indexical and the concept of medium specificity”，John McMullan“The Digital Moving Image: Revising Indexicality and Transparency”。
②Charles Sanders Perice,Peirce on Signs: Writings on Semiotic,edited byJames Hoopes.Chapel Hill: University of North Carolina Press,1991, pp.131-133.
①Peirce, Collected Papers of Charles Sanders Peirce. vol.2. Elements of Logic.Edited by CharlesHartshorne and Paul Weiss. Cambridge: Harvard University Press,1932, p.143.
②Perice,Peirce on Signs: Writings on Semiotic,edited by James Hoopes,1991,p.251.
③Peirce,Collected Papers of Charles Sanders Peirce. vol.2. Elements of Logic.Edited by CharlesHartshorne and Paul Weiss. Cambridge: Harvard University Press,1932, p.159.
④Deacon, Pickering, Golding,&Murdock, G. Researching Communications: A Practical Guide toMethods in Media and Cultural Analysis, London: Arnold,1999.
⑤Mary Ann Doane,“The indexical and the concept of medium specificity”, Difference，2006，vol.18，no.1, pp.128-152.
⑥John mcmullan，“The Digital Moving Image: Revising Indexicality and Transparency”, DiegeticLife Forms II Conference Proceedings,2011.
①Mary Ann Doane,“The Iindexical and the cconcept of Mmedium Sspecificity”, Difference,2006,vol.18, no.1, pp.128-152.
①Barbara Savedoff,“Escaping Reality：Digital Imagery and the Resources of Photography”,Journal of Aesthetics and Art Criticism, vol.55(2),1997, pp.201-214.
①Tom Cunning，What’s the Point of an Index?or, Faking Photographs, PLENUM II,Digital Aestethics, p42.
①Barthes, Camera Lucida: Reflections on Photography,translated by Richard Howard, New York:Hill and Wang,1981, p.6.
②Barthes,“The Photographic Message”，in Image Music Text, edited&translated by Stephen Heath，New York: Hill and Wang,1977, pp.15-31.
①Kendall Walton，Transparent pictures：on the nature of photographic realism,1984, pp.246-277..
①关于相信问题的悬置，见Noel Carroll在1990发表的论文：《The philosophy of horror or paradoxesof the heart》。
②Peter Lamarque,“How can we pity and fear fictions?”, British Journal of Aesthetics, vol.21,pp.291-304.
①Katherine Thomson-Jones，Aesthetic and film, London: Continuum,2008，p114.
①Noel Carrol，The philosophy of horror or paradoxes of the heart, London: Routledge,1990, p89.
②Richard Wollheim, The Thread of Life, Cambridge: Harvard University Press,1984, pp.79-80.
③Berys Gaut,“Identification and emotion in narrative film”, Passionate views: film，Cognition，and emotion, edited by Carl Plantinga, Greg Smith, Johns Hopkins University Press,1999.
①Marcia Eaton,“a strange kind of sadness”, The Journal of Aesthetics and Art Criticism, vol.41,no.1,1982, pp.51-63.
①见麦克卢汉1969年答《花花公子》记者问。
①Lev Manovich, The Language of New Media, The MIT Press,2002.
①许声华：《浅析数字影视后期编辑与特效合成制作》，《科学咨询(科技·管理)》2011年第3期，第78-79页。
①[德]莱布尼茨：《单子论》，北大哲学系外国哲学史教研室编译：《西方哲学原著选读》(上)，商务印书馆，1995年，第486页、第482页。
②麻鹤腾：《可能世界的几个基本理论问题》，河南大学2011年硕士论文。
③David Lewis, On the Plurality of Worlds, Basil Blackwell,1987, p.vii, p.2, pp.183-184.
④J. E. Nolt,“What Are Possible Worlds?” Mind, No.95,1986,p.442.
①[古希腊]亚里士多德著：《诗学》，陈中梅译，商务印书馆，2008年版，第81页。
①Lev Manovich, The Language of New Media, The MIT Press,2002, p.204
②Paul M Sammon, Future Noir: the Making of Blade Runner, London: Orion Media,1996, pp.313-315.
①Hicks, Chris, Movie review: Blade Runner, Deseret News Publishing Co,1992,9,11.
②[英]诺曼·布列逊：《视觉与绘画》，郭杨等译，浙江摄影出版社，2001年版。
③Roger Ebert, Blade Runner: Director's Cut, Sep.11,1992.
④Christian Metz, Alfred Guzzetti,“The Fiction Film and Its Spectator: A MetapsychologicalStudy”, New Literary History, vol.8, no.1,1976, pp.75-105.
①Deborah Rockman, Drawing Essentials: A Guide to Drawing from Observation, Oxford: OxfordUniversity Press,2008.
①[法]德博拉·罗克著：《牛津素描指南：从观察到描绘》，王毅译，上海人民美术出版社2010年版。
①[德]海因里希·沃尔夫林著：《艺术风格学》，潘耀昌译，中国人民大学出版社2004年版。
①[美]伦纳德·史莱因著：《艺术与物理学》，永宁、吴伯泽译，吉林人民出版社2001年版。
①[英]贡布里希著:《艺术与错觉》，李本正、范景中译，浙江摄影出版社1987年版，第42-43页。
②冯建亲：《绘画色彩论析》，上海人民出版社1990年版，第100页。
①[美]伦纳德·史莱因著：《艺术与物理学》，永宁，吴伯泽译，吉林人民出版社2001年版。
②关于这桩公案，国内的参考文献主要有：关洪：《牛顿,歌德和黑格尔--关于颜色理论的争论》，《自然辩证法通讯》1984年第4期，第6-13页；杨建邺、刘友文：《歌德<颜色论>初探》，《华中理工大学学报<社会科学版>》1992年第4期，第151-158页。英文文献主要见于：Amrine, F. etc.(eds.), Goethe and theScience: An Reappraisal, BSPS. Vol.97,1987;195-218,341-140,373-388. Fink, K. Goethe's Historyof Science, Cambridge/New York, Cambridge University Press,1991; Schoene, A. GoethesFarbentheologie, Munich; C.H. Beck,1987. Supper, D.L. Goethe contra Newton: Polemics and theProject for a New Science of Color, Cambridge University Press,1987.147-174.德文文献主要见于：Goethe, J. W. v. Die Schriften zur Naturwissenschaften: Leopoldina Ausgabe,Weimar: Hermann Boehlaus,1947ff. vol.4,5-315.Goethe, J. W. v. Goethes Werke: Herausgegeben im Auftrage der Grossherzogin Sophie von Sachsen:Weimarer Ausgabe, Part IV, vol.9,264.
①崔欣：《计算机动画技术发展浅析》，《科技风》2008年第21期，第42页。
①John Lasseter,“Principles Of Traditional Animation Applied To3D Computer Animation”,Computer Graphics, vol.21, no.4,1987, pp.35-44.
②夏洪文：《基于人体模型的动画技术》，《中国有线电视》2004年第22期，第72～74页。
①尚京：《<极地特快>真人演的动画片》，2004年11月12日《环球时报》第二十版。
②[英]贡布里希：《艺术的故事》，范景中、杨成凯译，广西美术出版社2008年版，第235页。
①[英]贡布里希：《艺术的故事》，范景中、杨成凯译，广西美术出版社2008年版，第235页。。
①Lev Manovich, The Language of New Media, p.180.
①见维米尔画作《窗前读信的妇人》。
①Don Ihde, Technology and Life World，Bloomington: Indiana University Press，1990.
②[法]梅洛·庞蒂：《眼与心》，杨大春译，商务印书馆2007年版，第13页。
③它异性是借用自法国哲学家列维纳斯的术语，他在《总体性和无限性》（Totality and Infinity）中使用了这个词。指的是一个人与另一个人之间的根本区别，其他人作为他者而存在。
①Hubert Dreyfus, What Computers Can't Do, New York: MIT Press,1979，p.198.
②Marvin Lee Minsky，Computation：Finite and Infinite Machines，Prentice-Hall，1967.
①Laveen kanal，《识别，机器识别与统计方法》，见《模式识别的方法》，纽约：学术出版社，1969年，p318-319。
②Hubert Dreyfus，What Computers Can't Do, New York: MIT Press,1979，p199.
③John McCarthy，“Information”， Scientific American, vol.215, no.3,1966，p.257.
①Marvin Lee Minsky, Semantic Information Processing，Boston: MIT Press，1968，p25.
②Leibniz, Leibniz: Selections，edited by Philip Wiener, NewYork: Scribner，1951，p20.
②Marvin Lee Minsky,Semantic Information Processing，Boston: MIT Press，1968，p431.
③伊登，《其他模式识别与某些概括》，载科勒斯与伊登编《模式识别：生物与自动系统研究》（麻省理工大学出版社，1968）第153页。
①[法]梅洛-庞蒂：《行为的结构》，杨大春译，商务印书馆2010年版，第224页。
②梅洛-庞蒂：《眼与心》，第13页。
①Marvin Lee Minsky, Semantic Information Processing，Boston: MIT Press，1968，p27。
①Martin Heidegger, Being and Time， NewYork：Harper&Row，1962，p106.
②Wittgenstein，Philosophical Investigation, translated by G.E.M.Anscombe, Oxford: BasilBlackwell,1953, p.50.
①郭熙，《林泉高致》，中华书局，2010年。
①有关迷影概念及其历史的详细阐释，可以参见Antoine de Baecque and Thierry Fremaux’s conference“The Inventionof a Culture: A History of Cinephilia” at the Lumie`re Institute in Lyon, featuringan impressive roster of international critics and scholars. Coincident with this conference, deBaecque and Fre Lmaux published a statement about their project that is also representative ofthe differences between U.S. and European considerations of cinephilia.
②Antoine de Baecque and Thierry Fremaux,“La Cine Lphilie ou L’Invention d’Une Culture”,translated by Timothy Barnard, Vingtie`me Sie`cle46(April–June1995), p.135.
①Susan Sontag.“The Decay of Cinema”, New York Times Magazine, February25,1996.
①David Denby.“The Moviegoers: Why Don’t People Like the Right Movies Anymore?” New Yorker,April6,1998, p.95.
②Stanley Kauffmann,“A Lost Lovlic,” New Republic, September8and15,1997, p.28.
③Steve Erickson.“Permanent Ghosts: Cinephilia in the Age of the Internet and Video", Sensesof Cinema, vol.4and5,2000.
④Susan Sontag.“The Decay of Cinema”, New York Times Magazine, February25,1996.
⑤James Morrison.“After the Revolution: On The Fate of Cinephilia”, Michigan Quarterly Review,vol.XLIV, no.3,2005.
①[英]劳拉·穆尔维：《视觉快感和叙事电影》，范倍译，出自杨远婴编《电影理论读本》，世界图书出版公司，2012年版，第522页。
①Scott Balcerzak and Jason Sperb, Cinephilia in the Age of Digital Reproduction: Film, Pleasureand Digital Culture, vol.1, London: Wallflower Press,2009.
②有关电影中技术崇拜的观点，参考Bukatman “The Artificial Infinite: On Special Effects and theSublime”，他在文章中详细分析了在CG时代的崇高感的延续和变化。
①江晓原：《<自然>究竟是一本什么杂志》，《文汇报》2013年11月1日。
②江晓原：《好莱坞科幻电影主题分析》，《自然辩证法通讯》2007年5期，第1～7页。
③沈国芳：《观念与范式——类型电影研究》，中国电影出版社2005年版，第118～124页。
①P.-A. Blanche, A. Bablumian, et al.“Holographic three-dimensional telepresence usinglarge-area photorefractive polymer”, Nature, vol.468,2010, pp.80-83.
①A. M. Turing,"Computing Machinery and Intelligence”, Mind, vol.LIX, no.236,1950, pp.433-460.
①Mark Rowlands, The philosopher at the end of the universe, London: Ebury Press,2005.
①转引自《三联生活周刊》，2003年第37期。
②《今日先锋》第11辑，天津社会科学院出版社，2001。或见《接入“黑客帝国”》，人民文学出版社，2003。英文版见http://www.lacan.com/zizek-matrix.htm。
③这段话的原文是“I’ve seen things you people wouldn’t believe. Attack ships on fire off theshoulder of Orion. I watched c-beams glitter in the dark near the Tanhauser Gate. Allthose...moments will be lost...in time. Like...tears...in rain. Time...to die.”。
①星战系列电影包括：1977年《星球大战4：新希望(Episode4:A New Hope)》，1980年《星球大战5：帝国反击战(Episode5:The Empire Strikes Back)》，1983年《星球大战6：绝地归来(Episode6: Return of theJedy)》，1999年《星球大战1：幽灵的威胁(Episode1:The Phantom Menace)》，2002年《星球大战2：克隆人的进攻(Episode2:Attack of the Clones)》，2005年《星球大战3：西斯的复仇(Episode3:Revenge of theSith)》。这个系列的拍摄时间先后和故事发展时间先后并不一致，先有正传三部，然后再拍摄了前传三部。
②《新观察家》的记者采访鲍德里亚时发问，人们发现《黑客帝国》明显从他1981年的著作《拟像与仿真》一书中掠美，对此他是否感到惊讶。鲍德里亚哈哈一笑：“沃卓斯基工作室确实在第一集完成之后和我联络过，希望说服我加入到他们的后传工作，但这显然是个难以想象的提议。”新华网：http://news.xinhuanet.com/book/2003-08/20/content_1036251.htm。
③锡安是《黑客帝国》里设定的一个城市，被设定为人类最后的居留地。锡安（Zion）之名出自圣经。圣经中多次出现“锡安”，一般指耶路撒冷，意为“避难所或圣殿”。《黑客帝国》中把人类反抗母体的基地称之为“锡安”，寓意为人类最后的希望。
①苗炜等：《黑客帝国的哲学背景》，http://news.xinhuanet.com/book/2003-08/20/content_1036251.htm。
②[法]博德里亚尔著：《完美的罪行》，王为民译，商务印书馆2000年版。
①时光网：《“衍生品时代”来临中国动漫产业应如何救赎》，2010年7月15日，http://news.mtime.com/2010/07/15/1436567.html。
②温都网：《看得完的电影，买不完的衍生品》，2013年6月18日，http://www.wzdsb.net/html/2013/20130618/214254.html。
①鲁迅：《月界旅行·辨言》，《译文序跋集》人民文学出版社，2006年版。
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①DLP：Digital Light Processor，美国德州仪器（TI）公司开发的专门的数字微镜芯片（DMD）。
③李铭：《让桑是怎样拍摄金星凌日的》，《现代电影技术》2012年第7期，第53～62页。
①Ampex是一家美国的存储设备制造商，1944年成立，曾开发出美国第一款实用的录音磁带和录像磁带。
②Dominic Case, Film Technology in Post Production, Oxford: Focal Press,2001, p13.
①王亚明：《新一代数字摄影机技术》，《现代电影技术》2011年第12期，第17～30页。
②现象网：《高清拍摄技巧》，http://fanhall.net/news/entry/7476.html。
③时光网：《胶片已死，数字为王电影全面告别胶片时代？》，http://news.mtime.com/2011/10/31/1474183-5.html。
①Dominic Case, Film Technology in Post Production, Oxford: Focal Press,2001.
②叶静：《从数字中间片到纯数字电影》，《现代电影技术》2008年第1期，第19～24页。
③王亚明：《数字摄影机之梦（连载1）》，《现代电视技术》2009年第3期，第102～107页。
①王亚明：《数字摄影机之梦（连载1）》。
①David Bordwell,“Intensified Continuity: Visual Style in Contemporary American Film”, FilmQuarterly, vol.55, no.3,2002, pp.16-28.
①特效合成软件非常多，代表性的有：AfterEffects、Fusion、Shake、5dcyborg、Boujou、Flame、AssimilateScratch、Avid Media Illusion、D2Nuke、Discreet Combustion、Discreet Edit、Kcirasoft Roach、Nothing Real Shake、Nucoda FilmMaster、Commotion、Pinnacle Studio、Piranha Cinema等。
①新浪网：《首部DLP数字电影“快乐的大脚”首次在沪登陆》，2007年1月29日，http://sh.news.sina.com.cn/20070129/144072560.shtml。
②据“数字电影与胶片电影的比较”（《中卫日报》2008年6月25日第六版）绘制。
③Brian McKernan, Digital Cinema: The Revolution in Cinematography, Postproduction, andDistribution, MCGraw-Hill,2005.
④新华网：《传媒蓝皮书:2012年电影市场年均增幅领跑世界》，2013年4月28日，http://news.xinhuanet.com/newmedia/2013-04/28/c_115588742.htm。
②《胶片已死，数字为王——电影全面告别胶片时代》。
③叶静：《从数字中间片到纯数字电影》，《现代电影技术》2008年第1期，第19～24页。
④Debra Kaufman,“Film Fading to Black”,http://library.creativecow.net/kaufman_debra/magazine_27-Film-Fade-to-Black/1.
⑤RED ONE是Red公司（即瑞德数位电影摄影机公司）的数字摄影机产品。该公司成立于2005年，是美国一家专门为专业级电影用数码摄影开发摄影机的厂商。
①“SOC Taps ALEXA for Technical Achievement”,http://www.arri.de/cn/news/soc-taps-alexa-for-technical-achievement/.
②时光网：《柯达申请破产引出电影业思考数字化制作成流行》，http://news.mtime.com/2012/01/21/1480383.html。
③Los Angeles Times: End of film: Paramount first studio to stop distributing film prints, Jan.17,2014,http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-paramount-digital-20140117,0,5245137.story#ixzz2w8ctMkOx.
①新浪网：《美国胶片电影淘汰加速，派拉蒙将只发数字》，http://ent.sina.com.cn/m/f/2014-01-21/10404085259.shtml。
②方捷新，刘达等：《中国数字影院发展十年综述》，《现代电影技术》2011年第10期，第12～17页。
③时光网：《中国拥有数字银幕8393块仅次美国位居世界第二》，http://news.mtime.com/2012/10/22/1499727.html。
④凤凰网：《卡梅隆豪购50部RED摄影机，<阿凡达2>再突破？》，http://digi.ifeng.com/dc/detail_2011_04/27/6019843_0.shtml。
⑤《胶片已死，数字为王——电影全面告别胶片时代》。
①这部影片使用了一项新的特效，即环幕投影。开拍前，导演派人远赴夏威夷毛伊岛的哈雷阿卡拉火山顶，用三部摄像机，以1080P全高清及120度全景的模式拍下由日出到日落的天色变化。然后把这些景象全息投影到环绕着场景的巨幕上，这样足不出户实现了高空外景拍摄。这种方法效果惊人，投影与场景搭配得天衣无缝，演员不用对着蓝布幕表演，而是身临其境地云端漫步。见《<遗落战境>曝天空塔花絮，揭秘高科技》，http://ent.sina.com.cn/m/f/2013-05-08/09563915416.shtml。
②Debra Kaufman,“Film Fading to Black”,http://library.creativecow.net/kaufman_debra/magazine_27-Film-Fade-to-Black/1.
③John Belton,“Digital Cinema: A False Revolution”，October，2002，no.100，pp.98-114.
①Wayne Carlson, A Critical History of Computer Graphics and Animation. The Ohio State University,2003.
②Ivan Sutherland, Sketchpad: A Man-Machine Graphical Communication System.
③Sketchpad奠定了Sutherland作为“计算机图形学之父”的基础，Sutherland也因此获得了1988年的图灵奖和2012年的京都奖。也是在1963年，Doug Englebart发明了鼠标，Maurice Coons提出了Coons曲面……
④Kelley J.P. Lindberg，Pioneers on the Digital Frontiers,http://continuum.utah.edu/2006winter/feature3.html.
⑤Inventor of the Week Archive, http://web.mit.edu/~invent/iow/sutherland.html.
⑥CGI Historical Timeline, http://design.osu.edu/carlson/history/timeline.html.
①Early Influences and Significant Early Computer Graphics Artists and Scientists,http://mysite.pratt.edu/~llaurola/cg550/CG.htm.
②王欣东，崔军：《电脑在电影动画和特效中的应用历程回顾》，《电影评介》2010年第14期，第69～71页。
③李念芦：《影视技术概论》，中国电影出版社1998年版，第212页。
①《西部世界》是中国引进的第一部美国科幻片，当时翻译为《血洗乐园》，对八十年代的内地观众来说可谓既震惊又紧张的佳作，尤·伯连纳扮演的机器人杀手给观众留下深刻的印象。
②A short computer-generated imagery (CGI) history，2011年5月11日，http://computerstories.net/a-computer-generated-imagery-cgi-history/#_。
①Geoff King, Spectacular narratives: Hollywood in the age of the blockbuster, NewYork:I.B.Tauris&Ltd,2000.
①Rudolf Arnheim，Film As Art，London: University Of California Press，1957, p.8-31.
②Rudolf Arnheim，Film as Art，Berkeley：University of California Press，1957, p.20.
①Roger Scruton，“Photography and Representation”，in A Neil and A Ridley eds，Arguing aboutart：Contemporary Philosophical Debates, New York: McGraw-Hill,p.89-113.
①Roger Scruton，“Photography and Representation”，in A Neil and A Ridley eds，Arguing aboutart：Contemporary Philosophical Debates, New York: McGraw-Hill,p.89-113.
②Roger Scruton，“Photography and Representation”，in A Neil and A Ridley eds，Arguing aboutart：Contemporary Philosophical Debates, New York: McGraw-Hill,p.89-113.
③W king，“Scruton and reasons for loolking at photograph”，in A Neil and A Ridley （eds），Arguing about art：Contemporary Philosophical Debates,New York: McGraw-Hill,p114-121.
①Bery Gaut, A philosophy of cinematic art, p.43.
①William Mitchell, The Reconfigured Eye: Visual Truth in the Post-Photographic Era, p.4.
①Thomas Elsaesser,“Louis Lumiere: the cinema's first virtualist?” In Thomas Elsaesser andKay Hoffmann (ed.), Cinema Futures: Cain, Abel or Cable? The Screen Arts in the Digital Age,Amsterdam: Amsterdam University Press,1998, p.45.
②Francois Truffaut,“A certain tendency of ttie French cinema”, in Bill Nichols （ed）, Moivesand Methods，Berkeley, CA: University of California Press,1976, pp.224-p237.
④Fereydoun Hoveyda,“Nicholas Ray's reply: Party Girl”, in Jim Hillier (ed) Cahiers du cinema.the1960s Cambridge, MA: Harvard University Press,1986, p.123.
①[美]汤姆·冈宁著：《吸引力电影，早期电影及其观众与先锋派》，范倍译，《电影艺术》2009年第2期，第61～65页。
②David Bordwell,Janet Staiger and Kristen Thompson,The classical Hollywood cinema：film styleand mode of production to1960,
①Yvonne Tasker，Spectacular bodies：Gender，Genre and the Action Cinema, Routledge,1993, p.9.
②Geoff King, Spectacular narratives: Hollywood in the age of the blockbuster, NewYork:I.B.Tauris&Ltd,2000.
③Kristin Thompson, The concept of cinematic excess，Cine-Tracts，vol.1, no.2,1977.
①Yvonne Tasker，Spectacular bodies：Gender，Genre，and the Action Cinema,p.6.
①Brooks Landon, The Aesthetics of Ambivalence: Rethinking Science Fiction Film in the Age ofElectronic Reproduction, London: Greenwood Press,1992,p.86.
②Robin Wood, Hollywood from Vietnam to Reagan and Beyond, NewYork: Columbia University Press,2003, p.102.
①Kendall Walton，Miemis as Make–Believe，Cambridge: Havard University Press,1990, p.102.
②Dai Vaughan, For Documentary：Twelve Essay, Berkeley: University of California Press,1999,pp.181-192.
③唐建军：《摄影机的看与眼睛的看》，《福建艺术》，2007年第1期，第59~61页。
①皮尔士的object也就是Jakobson的referent，Lev manovich也用referen来指object。
②Daniel Chandler,Semiotics for Beginners,http://www.aber.ac.uk/media/Documents/S4B/sem02.html
①关于index和摄影关系的文章可见于Tom Cunning“What is the point of an index？or，fakingphotograph”，Mary Ann Doane“The indexical and the concept of medium specificity”，John McMullan“The Digital Moving Image: Revising Indexicality and Transparency”。
②Charles Sanders Perice,Peirce on Signs: Writings on Semiotic,edited byJames Hoopes.Chapel Hill: University of North Carolina Press,1991, pp.131-133.
①Peirce, Collected Papers of Charles Sanders Peirce. vol.2. Elements of Logic.Edited by CharlesHartshorne and Paul Weiss. Cambridge: Harvard University Press,1932, p.143.
②Perice,Peirce on Signs: Writings on Semiotic,edited by James Hoopes,1991,p.251.
③Peirce,Collected Papers of Charles Sanders Peirce. vol.2. Elements of Logic.Edited by CharlesHartshorne and Paul Weiss. Cambridge: Harvard University Press,1932, p.159.
④Deacon, Pickering, Golding,&Murdock, G. Researching Communications: A Practical Guide toMethods in Media and Cultural Analysis, London: Arnold,1999.
⑤Mary Ann Doane,“The indexical and the concept of medium specificity”, Difference，2006，vol.18，no.1, pp.128-152.
⑥John mcmullan，“The Digital Moving Image: Revising Indexicality and Transparency”, DiegeticLife Forms II Conference Proceedings,2011.
①Mary Ann Doane,“The Iindexical and the cconcept of Mmedium Sspecificity”, Difference,2006,vol.18, no.1, pp.128-152.
①Barbara Savedoff,“Escaping Reality：Digital Imagery and the Resources of Photography”,Journal of Aesthetics and Art Criticism, vol.55(2),1997, pp.201-214.
①Tom Cunning，What’s the Point of an Index?or, Faking Photographs, PLENUM II,Digital Aestethics, p42.
①Barthes, Camera Lucida: Reflections on Photography,translated by Richard Howard, New York:Hill and Wang,1981, p.6.
②Barthes,“The Photographic Message”，in Image Music Text, edited&translated by Stephen Heath，New York: Hill and Wang,1977, pp.15-31.
①Kendall Walton，Transparent pictures：on the nature of photographic realism,1984, pp.246-277..
①关于相信问题的悬置，见Noel Carroll在1990发表的论文：《The philosophy of horror or paradoxesof the heart》。
②Peter Lamarque,“How can we pity and fear fictions?”, British Journal of Aesthetics, vol.21,pp.291-304.
①Katherine Thomson-Jones，Aesthetic and film, London: Continuum,2008，p114.
①Noel Carrol，The philosophy of horror or paradoxes of the heart, London: Routledge,1990, p89.
②Richard Wollheim, The Thread of Life, Cambridge: Harvard University Press,1984, pp.79-80.
③Berys Gaut,“Identification and emotion in narrative film”, Passionate views: film，Cognition，and emotion, edited by Carl Plantinga, Greg Smith, Johns Hopkins University Press,1999.
①Marcia Eaton,“a strange kind of sadness”, The Journal of Aesthetics and Art Criticism, vol.41,no.1,1982, pp.51-63.
①见麦克卢汉1969年答《花花公子》记者问。
①Lev Manovich, The Language of New Media, The MIT Press,2002.
①许声华：《浅析数字影视后期编辑与特效合成制作》，《科学咨询(科技·管理)》2011年第3期，第78-79页。
①[德]莱布尼茨：《单子论》，北大哲学系外国哲学史教研室编译：《西方哲学原著选读》(上)，商务印书馆，1995年，第486页、第482页。
②麻鹤腾：《可能世界的几个基本理论问题》，河南大学2011年硕士论文。
③David Lewis, On the Plurality of Worlds, Basil Blackwell,1987, p.vii, p.2, pp.183-184.
④J. E. Nolt,“What Are Possible Worlds?” Mind, No.95,1986,p.442.
①[古希腊]亚里士多德著：《诗学》，陈中梅译，商务印书馆，2008年版，第81页。
①Lev Manovich, The Language of New Media, The MIT Press,2002, p.204
②Paul M Sammon, Future Noir: the Making of Blade Runner, London: Orion Media,1996, pp.313-315.
①Hicks, Chris, Movie review: Blade Runner, Deseret News Publishing Co,1992,9,11.
②[英]诺曼·布列逊：《视觉与绘画》，郭杨等译，浙江摄影出版社，2001年版。
③Roger Ebert, Blade Runner: Director's Cut, Sep.11,1992.
④Christian Metz, Alfred Guzzetti,“The Fiction Film and Its Spectator: A MetapsychologicalStudy”, New Literary History, vol.8, no.1,1976, pp.75-105.
①Deborah Rockman, Drawing Essentials: A Guide to Drawing from Observation, Oxford: OxfordUniversity Press,2008.
①[法]德博拉·罗克著：《牛津素描指南：从观察到描绘》，王毅译，上海人民美术出版社2010年版。
①[德]海因里希·沃尔夫林著：《艺术风格学》，潘耀昌译，中国人民大学出版社2004年版。
①[美]伦纳德·史莱因著：《艺术与物理学》，永宁、吴伯泽译，吉林人民出版社2001年版。
①[英]贡布里希著:《艺术与错觉》，李本正、范景中译，浙江摄影出版社1987年版，第42-43页。
②冯建亲：《绘画色彩论析》，上海人民出版社1990年版，第100页。
①[美]伦纳德·史莱因著：《艺术与物理学》，永宁，吴伯泽译，吉林人民出版社2001年版。
②关于这桩公案，国内的参考文献主要有：关洪：《牛顿,歌德和黑格尔--关于颜色理论的争论》，《自然辩证法通讯》1984年第4期，第6-13页；杨建邺、刘友文：《歌德<颜色论>初探》，《华中理工大学学报<社会科学版>》1992年第4期，第151-158页。英文文献主要见于：Amrine, F. etc.(eds.), Goethe and theScience: An Reappraisal, BSPS. Vol.97,1987;195-218,341-140,373-388. Fink, K. Goethe's Historyof Science, Cambridge/New York, Cambridge University Press,1991; Schoene, A. GoethesFarbentheologie, Munich; C.H. Beck,1987. Supper, D.L. Goethe contra Newton: Polemics and theProject for a New Science of Color, Cambridge University Press,1987.147-174.德文文献主要见于：Goethe, J. W. v. Die Schriften zur Naturwissenschaften: Leopoldina Ausgabe,Weimar: Hermann Boehlaus,1947ff. vol.4,5-315.Goethe, J. W. v. Goethes Werke: Herausgegeben im Auftrage der Grossherzogin Sophie von Sachsen:Weimarer Ausgabe, Part IV, vol.9,264.
①崔欣：《计算机动画技术发展浅析》，《科技风》2008年第21期，第42页。
①John Lasseter,“Principles Of Traditional Animation Applied To3D Computer Animation”,Computer Graphics, vol.21, no.4,1987, pp.35-44.
②夏洪文：《基于人体模型的动画技术》，《中国有线电视》2004年第22期，第72～74页。
①尚京：《<极地特快>真人演的动画片》，2004年11月12日《环球时报》第二十版。
②[英]贡布里希：《艺术的故事》，范景中、杨成凯译，广西美术出版社2008年版，第235页。
①[英]贡布里希：《艺术的故事》，范景中、杨成凯译，广西美术出版社2008年版，第235页。。
①Lev Manovich, The Language of New Media, p.180.
①见维米尔画作《窗前读信的妇人》。
①Don Ihde, Technology and Life World，Bloomington: Indiana University Press，1990.
②[法]梅洛·庞蒂：《眼与心》，杨大春译，商务印书馆2007年版，第13页。
③它异性是借用自法国哲学家列维纳斯的术语，他在《总体性和无限性》（Totality and Infinity）中使用了这个词。指的是一个人与另一个人之间的根本区别，其他人作为他者而存在。
①Hubert Dreyfus, What Computers Can't Do, New York: MIT Press,1979，p.198.
②Marvin Lee Minsky，Computation：Finite and Infinite Machines，Prentice-Hall，1967.
①Laveen kanal，《识别，机器识别与统计方法》，见《模式识别的方法》，纽约：学术出版社，1969年，p318-319。
②Hubert Dreyfus，What Computers Can't Do, New York: MIT Press,1979，p199.
③John McCarthy，“Information”， Scientific American, vol.215, no.3,1966，p.257.
①Marvin Lee Minsky, Semantic Information Processing，Boston: MIT Press，1968，p25.
②Leibniz, Leibniz: Selections，edited by Philip Wiener, NewYork: Scribner，1951，p20.
②Marvin Lee Minsky,Semantic Information Processing，Boston: MIT Press，1968，p431.
③伊登，《其他模式识别与某些概括》，载科勒斯与伊登编《模式识别：生物与自动系统研究》（麻省理工大学出版社，1968）第153页。
①[法]梅洛-庞蒂：《行为的结构》，杨大春译，商务印书馆2010年版，第224页。
②梅洛-庞蒂：《眼与心》，第13页。
①Marvin Lee Minsky, Semantic Information Processing，Boston: MIT Press，1968，p27。
①Martin Heidegger, Being and Time， NewYork：Harper&Row，1962，p106.
②Wittgenstein，Philosophical Investigation, translated by G.E.M.Anscombe, Oxford: BasilBlackwell,1953, p.50.
①郭熙，《林泉高致》，中华书局，2010年。
①有关迷影概念及其历史的详细阐释，可以参见Antoine de Baecque and Thierry Fremaux’s conference“The Inventionof a Culture: A History of Cinephilia” at the Lumie`re Institute in Lyon, featuringan impressive roster of international critics and scholars. Coincident with this conference, deBaecque and Fre Lmaux published a statement about their project that is also representative ofthe differences between U.S. and European considerations of cinephilia.
②Antoine de Baecque and Thierry Fremaux,“La Cine Lphilie ou L’Invention d’Une Culture”,translated by Timothy Barnard, Vingtie`me Sie`cle46(April–June1995), p.135.
①Susan Sontag.“The Decay of Cinema”, New York Times Magazine, February25,1996.
①David Denby.“The Moviegoers: Why Don’t People Like the Right Movies Anymore?” New Yorker,April6,1998, p.95.
②Stanley Kauffmann,“A Lost Lovlic,” New Republic, September8and15,1997, p.28.
③Steve Erickson.“Permanent Ghosts: Cinephilia in the Age of the Internet and Video", Sensesof Cinema, vol.4and5,2000.
④Susan Sontag.“The Decay of Cinema”, New York Times Magazine, February25,1996.
⑤James Morrison.“After the Revolution: On The Fate of Cinephilia”, Michigan Quarterly Review,vol.XLIV, no.3,2005.
①[英]劳拉·穆尔维：《视觉快感和叙事电影》，范倍译，出自杨远婴编《电影理论读本》，世界图书出版公司，2012年版，第522页。
①Scott Balcerzak and Jason Sperb, Cinephilia in the Age of Digital Reproduction: Film, Pleasureand Digital Culture, vol.1, London: Wallflower Press,2009.
②有关电影中技术崇拜的观点，参考Bukatman “The Artificial Infinite: On Special Effects and theSublime”，他在文章中详细分析了在CG时代的崇高感的延续和变化。
①江晓原：《<自然>究竟是一本什么杂志》，《文汇报》2013年11月1日。
②江晓原：《好莱坞科幻电影主题分析》，《自然辩证法通讯》2007年5期，第1～7页。
③沈国芳：《观念与范式——类型电影研究》，中国电影出版社2005年版，第118～124页。
①P.-A. Blanche, A. Bablumian, et al.“Holographic three-dimensional telepresence usinglarge-area photorefractive polymer”, Nature, vol.468,2010, pp.80-83.
①A. M. Turing,"Computing Machinery and Intelligence”, Mind, vol.LIX, no.236,1950, pp.433-460.
①Mark Rowlands, The philosopher at the end of the universe, London: Ebury Press,2005.
①转引自《三联生活周刊》，2003年第37期。
②《今日先锋》第11辑，天津社会科学院出版社，2001。或见《接入“黑客帝国”》，人民文学出版社，2003。英文版见http://www.lacan.com/zizek-matrix.htm。
③这段话的原文是“I’ve seen things you people wouldn’t believe. Attack ships on fire off theshoulder of Orion. I watched c-beams glitter in the dark near the Tanhauser Gate. Allthose...moments will be lost...in time. Like...tears...in rain. Time...to die.”。
①星战系列电影包括：1977年《星球大战4：新希望(Episode4:A New Hope)》，1980年《星球大战5：帝国反击战(Episode5:The Empire Strikes Back)》，1983年《星球大战6：绝地归来(Episode6: Return of theJedy)》，1999年《星球大战1：幽灵的威胁(Episode1:The Phantom Menace)》，2002年《星球大战2：克隆人的进攻(Episode2:Attack of the Clones)》，2005年《星球大战3：西斯的复仇(Episode3:Revenge of theSith)》。这个系列的拍摄时间先后和故事发展时间先后并不一致，先有正传三部，然后再拍摄了前传三部。
②《新观察家》的记者采访鲍德里亚时发问，人们发现《黑客帝国》明显从他1981年的著作《拟像与仿真》一书中掠美，对此他是否感到惊讶。鲍德里亚哈哈一笑：“沃卓斯基工作室确实在第一集完成之后和我联络过，希望说服我加入到他们的后传工作，但这显然是个难以想象的提议。”新华网：http://news.xinhuanet.com/book/2003-08/20/content_1036251.htm。
③锡安是《黑客帝国》里设定的一个城市，被设定为人类最后的居留地。锡安（Zion）之名出自圣经。圣经中多次出现“锡安”，一般指耶路撒冷，意为“避难所或圣殿”。《黑客帝国》中把人类反抗母体的基地称之为“锡安”，寓意为人类最后的希望。
①苗炜等：《黑客帝国的哲学背景》，http://news.xinhuanet.com/book/2003-08/20/content_1036251.htm。
②[法]博德里亚尔著：《完美的罪行》，王为民译，商务印书馆2000年版。
①时光网：《“衍生品时代”来临中国动漫产业应如何救赎》，2010年7月15日，http://news.mtime.com/2010/07/15/1436567.html。
②温都网：《看得完的电影，买不完的衍生品》，2013年6月18日，http://www.wzdsb.net/html/2013/20130618/214254.html。
①鲁迅：《月界旅行·辨言》，《译文序跋集》人民文学出版社，2006年版。
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