【作者】 冯豪博；

【导师】 商杰；

【作者基本信息】 河北师范大学 ， 艺术学， 2010， 硕士

【摘要】 迅猛的科技发展使人类跨入数字化的信息时代,便捷的互联网络让世界微缩成一个村落。于是,人类的学习方式、工作方式、娱乐方式,甚至整个生存方式都开始日新月异。我们的世界突然骤变,我们感受世界的方式也发生了巨大改变,从印刷术到数码运用,技术的飞跃引领出信息传播时代风驰电掣的飞速前进。同时,在影像天地,数字技术的加盟带来了影视发展新的历史机遇。数字媒体影像为影视艺术输入了新动力,开辟了新路径,创造了新风景。同时在影视之外,发展游戏成品、开发网络商品、制作数码广告等活动愈演愈热,这些都为数字媒体影像时代的艺术家提供了飞速发展的空间。当然在这个自由空间里也孕育了这样一种现象:数字媒体影像成为了承载着原创者某种价值观和意识形态的文化艺术产品和现代传播工具,它们通过互联网无国界的传播,对别国的人民进行影视娱乐的播撒,对他们的文化接受产生微妙的影响,进而扩展,以至灌输代表本国利益和价值观的文化意识、伦理观念。通过塑造一个又一个媒体文化符号,对其它国家进行不断地、间接性地渗透,从而达到事实上的、长期的文化侵蚀,更为严重的还会改变被渗透国的大众评判价值,在传播对象那里形成自己所期待的生活习惯和意识,最终培养出对自己的产品无休止的精神依赖和市场需求,如此即以非强制手段达到了长期的精神、文化控制的目的。面对越来越独具慧眼,越发不受束缚,追求个性解放、话语自由的受众,这种控制顺应潮流地韬光养晦,隐蔽存在。由此,我们不能不重视各种渗透着意识的能量与威力的影像。数码技术被应用于各种影像之后,理论界曾出现了较大的分歧。其对数字技术否定方认为:数字媒体影像超强的表征功能将各种文化进行了整合,纳入主流价值观中,产生新的意义,然而在结构规则的运用中有较大的易变性,并且是从一个较大范围材料中提取出来的,最终意义实践变得清晰,却产生多元意义,文化中的控制与自由以及消费主义被整合进各类影像当中,这样就与意识形态结合起来。文化输出中,影像表征的内容涉及精神与物质的多个层面。从文化批判的视角而言,数字影像的意义实践是充满权力的活动。我们可以清楚地发觉西方影像作品,尤其是好莱坞电影的构思制作并非是“简单的视觉盛宴”,尤其是数字技术支撑下的数字影像摆脱了表面层次显而易见的方式——国家与国家的对抗,文化与文化的对抗,种族与种族的冲突等等来传播控制者的意图,其常常以一种我们视界中并不存在的抽象影像来表达观点,从而避免受到直接批评的危险。我们必须认识到,数字媒体影像中精美的画面和奇观让我们沉迷其中,但是,我们更应该清楚地认识到,这种影像中不仅仅有强烈的感官刺激,其背后更是强大的精神控制和意识形态的输入,终究难以逃脱的是文化的扩张和价值观的扩散。除媒体影像外,依托数字化技术而生的网络互动影像节目最大程度地尊重了观众的主观能动性。在“虚拟真实”里,观众从“被动”的观赏变为艺术“虚拟世界”里某种意义上的“主宰”。在新媒介时代,人人参与的虚拟世界艺术消费使得大众的“集体分享”变成一种可能。数字媒体影像作为一种艺术和大众文化,以其画面的冲击力和故事的趣味性,减少了说教成分,在向观众提供娱乐服务的同时,以润物细无声的方式使受众不知不觉地接受影像中所体现的对事物的认知和评价,从而内化为自己的个性化品质。数字媒体在消费时代要赢得观众,它们传达的信息,就必须迎合观众群体的某种好奇心及某种视觉偏向,数字技术就为这种好奇心和视觉偏向丢份儿实现提供了可能性。多元化的受众、表征内容的扩大化、受众的个性化无疑增强了其隐蔽性。有学者认为,21世纪是后媒体时代,后媒体时代所凸显的特征便是:媒体的重点不再是内容,而是渠道。或者说,内容为王,向渠道为王开始转变。因此,我们更应该警惕霸权文化在技术幌子下进行文化的侵略和意识形态灌输。警惕数字媒体时代技术掩盖下控制,构建属于我们本民族的话语权,立足并发扬光大自己的文化,才是我们的根本目的。更多还原

【Abstract】 The fast development of science and technology leads humanity into an informationized digital age. With the advent of the Internet and computers, human society has actually entered the“global village”era. Therefore, human’s learning, working and entertainment style, even the whole mode of existence has been changed greatly. The world we are living in has suddenly undergone tremendous changes. It is the same to the way we feel the world. The leaping progress of technology, from printing to digital products, has led the progressive development in the information age. Meanwhile, in the image world, the participation of digital technology has brought new historic opportunity for the development of film and television. Digital media image has induced a new dynamic, opened up a new path, created a new scenery for the visual arts. At the same time, besides film and television, the developments of the finished products of game, network products, production of digital advertising and other activities are becoming increasingly popular. These provide space of a rapid development for the artists in digital media field. This free space, also gives birth to such a phenomenon: the digital media image has become a cultural and artistic product as well as a modern communication tool which carries the original values and ideology of the original creater. They spread the sow entertainment to the other countries people, through the no-national-boundary Internet, giving a subtle impact on their cultural acceptance, and then expanding the impact, as well as infusing the cultural awareness and ethics which are on behalf of their own interests and values. Through creating one after another media cultural symbols, they continuously and indirectly penetrate on the other countries, so as to achieve a matter of fact, long-term cultural erosion, more seriously, even change the value of the mass of the infiltrated countries, forming their own expected habits and awareness in the dissemination of objects, and ultimately cultivating a spirit of endless dependence and market demand on their products. In this way, by non-coercive means, they achieve a long-term mental and cultural control. Face more discerning, more and more unfettered pursuit of personal liberation and free speech of the audience, this control goes with the tide to keeping a low profile, and hides there. Therefore, we must pay serious attention to the energy and power of a variety images in consciousness infiltrating. All of this has also been evident in the media. After digital technology being applied to a variety of images, there have been some great divergences in the theorey circle. Superior token function of digital imaging has integrated various cultures into mainstream values, and generated new meaning. However, in the process of the application of the structure rules, there is a kind of mutability, and it’s extracted from a large range of material. In the end, the meaning of practice becomes clear, but it produces multi-meaning. Control and freedom in culture, and consumerism which has been integrated into the various types of images, thus are combined with the ideology. In the cultural output, image representation concerns the multiple dimensions of spirit and substance. From the perspective of cultural criticism, the practical significance of digital imaging is a activity full of power. We can clearly find that in the Western image works, especially the idea and production of Hollywood film is not "simple visual feast", in particular the digital imaging under the support of digital technology, , has got rid of the surface level of the obvious ways - the confrontation between countries, cultures, and races and so to spread the controller’s intentions.It always uses an abstract image not existing in our horizon to express ideas, to avoid the risk of direct criticism. We must recognize that it is digital media images of beautiful pictuers and spectacle that in which we indulge, but we should also be aware that this image is not only a strong sensory stimulation, behind which, it is also a strong spiritual control and ideological input. What is difficult to escape is the expansion and proliferation of the cultural values . In addition to media images, the network interactive video programs relying on digital technology have respected the audience’s subjective initiative in an uttermost way. In the "virtual reality", the "passive" viewing audience has become the "master’’of the artistic "virtual world", in a sense, In the new media age, everybody involving in the virtual world of arts consumption makes the public’s "collective sharing" has become a possibility. Digital media image as an art and popular culture, with the impact of its picture and its interesting story, and a decrease of preaching, provides entertainment to the audience , and at the same time, makes the audience unwittingly and silently accept the evaluation of cognitive awareness embodied in the image, and makes it their own personalized quality. If digital media wants to win the audience in the consumer era, the information they want to send must meet the curiosity and a visual bias of the certain audience groups. Digital technology provides the possibility for losing seats of the curiosity and the visual preference.A wide range of audience, expansion of token and content, and the charcterization of the audience will undoubtedly increase its elusive nature. Some scholars believe that the 21st century is a post-media age. The characteristics of the age is: the media’s focus is no longer on content, but the channel. In other words, the king of content is replaced by the king of channel. Therefore, we should be more wary of cultural aggression and ideological indoctrination under the guise of technology, in particular, when the development of technology makes us think that such behavior does not even exist. Vigilance the control of digital media era under the guise of technology, building the voice belongs to our own nation, standing on and developing our own culture, are fianally our fundamental purpose.更多还原