延伸与反思:基于电影感知研究的中国电影研究新思路
|
摘要
面对经济和文化等方面的冲击,中国电影研究需要顺势而为:从传统的理论性研究汇入创作实践与理论体系交融的大方向,从单一的学科研究转向到跨学科的探索。电影感知研究正是解决电影跨学科问题的最佳研究方法,它将传统电影研究与其他学科的现实经验相结合,可以从根本上推进中国电影研究以及实践在世界电影产业舞台上的位置。
Film perception and cognition research, as an interdisciplinary research lags behind the curve on issues, methods, and trends found important by its adjacent disciplines, such as film, communication, and psychology. It provides a scientific perspective for exploring the fundamental analysis issues to evaluate the film's endogenous structure and exogenous power in the audience. It will mount the position of Chinese film research around the world by integrating the multidisciplinary theories and practice.
Film perception and cognition research, as an interdisciplinary research lags behind the curve on issues, methods, and trends found important by its adjacent disciplines, such as film, communication, and psychology. It provides a scientific perspective for exploring the fundamental analysis issues to evaluate the film's endogenous structure and exogenous power in the audience. It will mount the position of Chinese film research around the world by integrating the multidisciplinary theories and practice.
引文
1Bordwell, D.Narration in the Fiction Film. University of Wisconsin Press,1985.
2 Bordwell,D.&Carroll, N.(Eds.). Post-theory:reconstructing film studies. University of Wisconsin Press,2012.
3 栾凌菲.导演·观众·粉丝·第四届全国电影学青年学者论坛论文集.北京:中国社会科学出版社,2018.221-254.
4 Luan L. Finding a Basic Interpretive Unit through the Human Visual Perception and Cognition-A Comparison between Filmmakers and Audiences[D]. Bowling Green State University, 2016.
5 MorleyD.Activeaudiencetheory:Pendulumsandpitfalls[J].Journalof communication, 1993.43(4):13-19.
6Hochberg, J.and Brooks, V.The Perception of Motion Pictures”in E. C. Carterette and M. P. Friedman(eds.)Handbook of Perception, vol. 10:Perceptual Ecology, New York:Academic Press,1978.259-304.
7 Bordwell, D.A case for cognitivism.Iri,1989.11-40.
8 Currie, G. The film theory that never was:A nervous manifesto in:Allen. Film Theory and Philosophy,1997.42-59.
9 栾凌菲.电影感知研究的历史发展及未来.北京电影学院学报,2018(03):98-104.
10 Smith T J,Martin-Portugues Santacreu J Y. Match-action:The role of motion and audio in creating global change blindness in film[J]. Media Psychology, 2017. 20(2):317-348.
11Zwaan, R. A., Langston, M. C.,&Graesser, A. C.The construction of situation models in narrative comprehension:An event-indexing model. Psychological science,1995.292-297.
12 Zwaan, R. A.Five dimensions of narrative comprehension:The event-indexing model. Narrative comprehension, causality, and coherence:Essays in honor of Tom Trabasso,1999.93-110.
13 Zacks, J. M., Speer, N. K.,&Reynolds, J. R.Segmentation in reading and film understanding. Journal of Experimental Psychology,2009.307-327.
14 Magliano J P, Zacks J M. The impact of continuity editing in narrative film on event segmentation[J]. Cognitive Science,2011.35(8):1489-1517.
15 Magliano, J. P., Zwaan, R. A.,&Graesser, A. C. The role of situational continuity in narrative understanding. In H. van Oostendorp&S. R. Goldman(Eds.), The construction of mental representations during reading,1999.219-245.
16Luan L. Finding a Basic Interpretive Unit through the Human Visual Perception and Cognition-A Comparison between Filmmakers and Audiences. Bowling Green State University, 2016.
2 Bordwell,D.&Carroll, N.(Eds.). Post-theory:reconstructing film studies. University of Wisconsin Press,2012.
3 栾凌菲.导演·观众·粉丝·第四届全国电影学青年学者论坛论文集.北京:中国社会科学出版社,2018.221-254.
4 Luan L. Finding a Basic Interpretive Unit through the Human Visual Perception and Cognition-A Comparison between Filmmakers and Audiences[D]. Bowling Green State University, 2016.
5 MorleyD.Activeaudiencetheory:Pendulumsandpitfalls[J].Journalof communication, 1993.43(4):13-19.
6Hochberg, J.and Brooks, V.The Perception of Motion Pictures”in E. C. Carterette and M. P. Friedman(eds.)Handbook of Perception, vol. 10:Perceptual Ecology, New York:Academic Press,1978.259-304.
7 Bordwell, D.A case for cognitivism.Iri,1989.11-40.
8 Currie, G. The film theory that never was:A nervous manifesto in:Allen. Film Theory and Philosophy,1997.42-59.
9 栾凌菲.电影感知研究的历史发展及未来.北京电影学院学报,2018(03):98-104.
10 Smith T J,Martin-Portugues Santacreu J Y. Match-action:The role of motion and audio in creating global change blindness in film[J]. Media Psychology, 2017. 20(2):317-348.
11Zwaan, R. A., Langston, M. C.,&Graesser, A. C.The construction of situation models in narrative comprehension:An event-indexing model. Psychological science,1995.292-297.
12 Zwaan, R. A.Five dimensions of narrative comprehension:The event-indexing model. Narrative comprehension, causality, and coherence:Essays in honor of Tom Trabasso,1999.93-110.
13 Zacks, J. M., Speer, N. K.,&Reynolds, J. R.Segmentation in reading and film understanding. Journal of Experimental Psychology,2009.307-327.
14 Magliano J P, Zacks J M. The impact of continuity editing in narrative film on event segmentation[J]. Cognitive Science,2011.35(8):1489-1517.
15 Magliano, J. P., Zwaan, R. A.,&Graesser, A. C. The role of situational continuity in narrative understanding. In H. van Oostendorp&S. R. Goldman(Eds.), The construction of mental representations during reading,1999.219-245.
16Luan L. Finding a Basic Interpretive Unit through the Human Visual Perception and Cognition-A Comparison between Filmmakers and Audiences. Bowling Green State University, 2016.