電子游戲?qū)τ耙暤挠绊懷芯?/H1>
發(fā)布時間：2018-12-12 10:41
【摘要】：其實任何一門藝術(shù)都是人們在長期的生活實踐中創(chuàng)造出來的文化方式，它以物質(zhì)為載體，把引起人情感上的愉悅作為其得以無限發(fā)展的追求。作為新媒體的代表之一，電子游戲無疑有著這樣的優(yōu)勢，特別在進入二十一世紀(jì)后，借助數(shù)字技術(shù)電子游戲打造出龐大的虛擬世界，很多作品里都可以看到創(chuàng)作者自覺地把和諧的自由感貫穿到游戲者的操作始末，不僅讓游戲者釋放了無法在現(xiàn)實中得到滿足的原始感性沖動，同時又把這種感性沖動納入一個有序而理性的范圍，達到了秩序的理性與感官的自主統(tǒng)一和諧。同時，電子游戲憑借自身別具一格的敘事風(fēng)格，韻合著當(dāng)代藝術(shù)的變革，非線性無中心的敘事體系創(chuàng)建了一個全新的藝術(shù)空間，參與者不再是被動地接受創(chuàng)作者給予的信息，而是具有了即時性的創(chuàng)造能力，能夠給作品詮釋出新的意義，并且影響更多的參與者。 電子游戲和影視在很多方面具有先天的孿生性。首先，，都是脫胎于以畫面聲樂為基礎(chǔ)的媒介體驗活動，影視和電子游戲的藝術(shù)表達都需要通過影像與聲音的高度結(jié)合而得以呈現(xiàn)，參與者的整個體驗活動以及感受都是建立在視聽基礎(chǔ)上的，無論是影視還是電子游戲，重要的都是參與的過程。另外，作為對故事進行描述的藝術(shù)，劇本的概念是電子游戲和影視進行藝術(shù)創(chuàng)作必不可少的前提，也是引導(dǎo)游戲和影視實現(xiàn)藝術(shù)訴求的靈魂。敘事結(jié)構(gòu)同時存在于電子游戲（主要為角色扮演類及動作冒險類游戲）和影視中。再次，游戲和影視的發(fā)展都同時依賴于科技的進步，技術(shù)的變革給影視和電子游戲帶來了更多的審美體驗。結(jié)合上面所述，我們可以看到，電子游戲和影視有著很多的共同點，而且在很大程度上中我們看到了電子游戲源于影視高于影視的藝術(shù)表現(xiàn)手法。憑借著自身的創(chuàng)作理念，電子游戲也在當(dāng)代的文化語境中影響著影視的發(fā)展。
[Abstract]:In fact, any art is a cultural way created by people in the long-term practice of life. It takes the material as the carrier and takes the pleasure of human emotion as the pursuit of unlimited development. As one of the representatives of new media, video games undoubtedly have such advantages, especially after entering the 21 century, with the help of digital technology electronic games to create a huge virtual world, In many works, you can see that the creator consciously penetrates the harmonious sense of freedom into the player's operation, which not only allows the gamer to release the primitive emotional impulse which can not be satisfied in reality. At the same time, the perceptual impulse is brought into an orderly and rational range, which achieves the unity of rationality and sensuality of order. At the same time, video games with their own unique narrative style, rhyme with the transformation of contemporary art, the non-linear narrative system has created a new art space, participants are no longer passively accept the information given by the creator. Instead, it has the ability to create instantaneously, to interpret new meaning and to influence more participants. Video games and movies have innate twins in many ways. First of all, they are all born out of the media experience based on picture-vocal music. The artistic expression of film, television and video games needs to be presented through a high combination of video and sound. The whole experience and feeling of participants are based on audio-visual, whether it is video or video games, the important thing is to participate in the process. In addition, as the art of describing the story, the concept of screenplay is an indispensable prerequisite for the artistic creation of video games and films, and also the soul of guiding games and movies to realize their artistic appeal. Narrative structure also exists in video games (mainly role-playing and action-adventure games) and film and television. Thirdly, the development of game and video both depend on the progress of science and technology at the same time, and the change of technology brings more aesthetic experience to film and video game. Combined with the above, we can see that video games and movies have a lot in common, and to a large extent, we have seen that video games come from film and television superior to film and television artistic expression. With their own creative ideas, video games also affect the development of film and television in the contemporary cultural context.
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：G899;J905
【參考文獻】
相關(guān)期刊論文 前10條
1 游飛,蔡衛(wèi);電影新技術(shù)與后電影時代[J];當(dāng)代電影;2000年04期
2 曹淵杰;李亦中;;現(xiàn)代電影與電子游戲的交互趨勢[J];當(dāng)代電影;2008年09期
3 何志鈞;秦鳳珍;;電子游戲與當(dāng)代電影的審美新變[J];當(dāng)代電影;2008年09期
4 王貞子;;互動與敘事:從類電影互動游戲《消逝》看線性敘事在數(shù)字時代的衍生發(fā)展[J];當(dāng)代電影;2009年05期
5 王偉光;;游戲與電影 誰成就了誰[J];電腦迷;2007年22期
6 曉應(yīng);《古墓麗影》:新世紀(jì)電影的新嘗試[J];大眾電影;2001年05期
7 汪代明;張金華;;電子游戲與電影藝術(shù)[J];電影文學(xué);2007年13期
8 何志鈞;秦鳳珍;;當(dāng)代電影與電子游戲共舞[J];電影評介;2006年17期
9 付偉;;解構(gòu)的游戲:《羅拉快跑》[J];電影評介;2007年13期
10 包鵬程;;視覺欲望與景觀電影[J];電影藝術(shù);2006年04期
本文編號：2374421
本文鏈接：http://lk138.cn/wenyilunwen/dianyingdianshilunwen/2374421.html
[Abstract]:In fact, any art is a cultural way created by people in the long-term practice of life. It takes the material as the carrier and takes the pleasure of human emotion as the pursuit of unlimited development. As one of the representatives of new media, video games undoubtedly have such advantages, especially after entering the 21 century, with the help of digital technology electronic games to create a huge virtual world, In many works, you can see that the creator consciously penetrates the harmonious sense of freedom into the player's operation, which not only allows the gamer to release the primitive emotional impulse which can not be satisfied in reality. At the same time, the perceptual impulse is brought into an orderly and rational range, which achieves the unity of rationality and sensuality of order. At the same time, video games with their own unique narrative style, rhyme with the transformation of contemporary art, the non-linear narrative system has created a new art space, participants are no longer passively accept the information given by the creator. Instead, it has the ability to create instantaneously, to interpret new meaning and to influence more participants. Video games and movies have innate twins in many ways. First of all, they are all born out of the media experience based on picture-vocal music. The artistic expression of film, television and video games needs to be presented through a high combination of video and sound. The whole experience and feeling of participants are based on audio-visual, whether it is video or video games, the important thing is to participate in the process. In addition, as the art of describing the story, the concept of screenplay is an indispensable prerequisite for the artistic creation of video games and films, and also the soul of guiding games and movies to realize their artistic appeal. Narrative structure also exists in video games (mainly role-playing and action-adventure games) and film and television. Thirdly, the development of game and video both depend on the progress of science and technology at the same time, and the change of technology brings more aesthetic experience to film and video game. Combined with the above, we can see that video games and movies have a lot in common, and to a large extent, we have seen that video games come from film and television superior to film and television artistic expression. With their own creative ideas, video games also affect the development of film and television in the contemporary cultural context.
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：G899;J905
【參考文獻】
相關(guān)期刊論文 前10條
1 游飛,蔡衛(wèi);電影新技術(shù)與后電影時代[J];當(dāng)代電影;2000年04期
2 曹淵杰;李亦中;;現(xiàn)代電影與電子游戲的交互趨勢[J];當(dāng)代電影;2008年09期
3 何志鈞;秦鳳珍;;電子游戲與當(dāng)代電影的審美新變[J];當(dāng)代電影;2008年09期
4 王貞子;;互動與敘事:從類電影互動游戲《消逝》看線性敘事在數(shù)字時代的衍生發(fā)展[J];當(dāng)代電影;2009年05期
5 王偉光;;游戲與電影 誰成就了誰[J];電腦迷;2007年22期
6 曉應(yīng);《古墓麗影》:新世紀(jì)電影的新嘗試[J];大眾電影;2001年05期
7 汪代明;張金華;;電子游戲與電影藝術(shù)[J];電影文學(xué);2007年13期
8 何志鈞;秦鳳珍;;當(dāng)代電影與電子游戲共舞[J];電影評介;2006年17期
9 付偉;;解構(gòu)的游戲:《羅拉快跑》[J];電影評介;2007年13期
10 包鵬程;;視覺欲望與景觀電影[J];電影藝術(shù);2006年04期
本文編號：2374421
本文鏈接：http://lk138.cn/wenyilunwen/dianyingdianshilunwen/2374421.html
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