| 网络数字时代的电影本体与电影批评 |
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| 引用本文： | 杨曙. 网络数字时代的电影本体与电影批评[J]. 河北工业大学学报:社会科学..., 2011, 0(1): 6-9 |
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| 作者姓名： | 杨曙 |
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| 作者单位： | 福建工程学院文化传播系,福建福州350108 |
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| 摘 要： | 对比传统电影,我们即可发现传统电影尽管也有观众欣赏的读者中心存在,但是话语权实质仍旧在导演和放映者手中,网络数字娱乐可以保证审美主体的审美个性化,强调审美体验者的审美主体性。数字技术时代的技术是电影发展的推动力,电影又回到原初意义上的视觉艺术,这是艺术本身的发展规律的体现。网络批评在某种程度上就是大众的,它已经成为大众生活的有机组成部分,并冲击社会中既有的以专家批评为代表的＂权威性＂审美标准和观念。
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| 关 键 词： | 网络数字 网络大众批评 电影本体 |
Movie Ontology and Movie Criticism in Digital Age |
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| YANG Shu. Movie Ontology and Movie Criticism in Digital Age[J]. Journal of Hebei University of Technology(Social Science Edition, 2011, 0(1): 6-9 |
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| Authors: | YANG Shu |
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| Affiliation: | YANG Shu ( Fujian College of Technology, Department of Cultural Communications, Fuzhou Fujian 350108, China ) |
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| Abstract: | Although audience-centered theory exists in traditional movie, the discourse power still falls to the director. Digital entertainment can make sure the personalization of the aesthetic subject and emphasize the subjectivity of aesthetic experience. The technique in network ages is the driving force in the process of movie development. The movie returns to vision art in original sense, which also embodies the law of development of arts. Movie criticism is very popular and has already become an organic part among people＇s life. It challenges ＂the authoritative＂ aesthetic standard and concept which is supported by expert. |
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| Keywords: | network digital public criticism movie ontology |
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