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当下炙手可热的微信影评催生出了一个“人人都是批评家”的全民影评时代,全方位地变更着以往的中国电影批评生态。探究微信影评的生产机制,有必要将其纳入到知识社会学/文化社会学的视野,在文化生产场中考察微信影评与生产者、分配者、接受者以及社会世界等诸要素之间的动态关联。在文化场中多重要素的共同促发下,微信影评在文本话语形态上呈现出新闻化、生活化、图像化与人格化等显著特征。就艺术批评的本体论层面而言,微信影评开辟了视觉影评书写的新路径,可望以一种文本批评的姿态,重建中国电影批评所匮乏的本体意识。微信影评中媒介主体性的过度强化也导致了批评的异化现象,因此有必要倡导批评者媒介素养的培养与提升。
The current hot WeChat criticism gave birth to a “everyone is a critic,” the era of universal criticism, omni-directional change in the past, the Chinese film critics of ecology. To explore the production mechanism of WeChat criticism, it is necessary to incorporate it into the field of knowledge sociology / cultural sociology and examine the dynamics between WeChat criticism and the various elements such as producers, distributors, recipients and the social world in the cultural production field Associated. Under the common motivation of multiple elements in the cultural field, WeChat criticism shows distinctive features such as news, life, image and personalization in the form of text discourse. As far as the ontology of art criticism is concerned, WeChat criticism opens up a new path of writing visual film criticism. It is expected to rebuild the lack of awareness of ontology that Chinese film criticism lacks in a gesture of textual criticism. The over-intensification of media subjectivity in WeChat criticism has also led to the alienation of criticism. Therefore, it is necessary to advocate the training and promotion of critics’ media literacy.