从个性化理论看电影中的戏仿——《头号玩家》中的闪光点

Kwangtaek Park, Sangjoon Bae
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摘要

模仿作为一种长期以来的创作方式,在后现代主义的传播中脱颖而出。仿拟被Linda Hutcheon定义为“包含差异的重复”,它在对原文的转换过程中构建了新的语义网络。本文主要从个性化理论吉尔伯特·西蒙顿的视角来研究戏仿的产生过程。同样,技术和技术对象,同样是文化的要素,都具有潜在的能量,引起对另一个个体的转导,并发生个性化以形成新的意义。即戏仿是内在具有势能的内容之间的个性化现象。随着数字文化的发展,戏仿在视觉文化领域得到了活跃的应用。尤其是电影,作为技术、工业和艺术的界面,可以说是戏仿美学的先锋军。20世纪70年代以后,戏仿开始在电影中应用,在连接众多作品的电影之间的网络中产生了丰富的意义。电影的一个节点,(2018)试图恶搞覆盖整个流行文化,不仅是电影,还有游戏等等。在这一点上,(1980)被重新赋予了高度的重要性。在没有讽刺或尊重意图的价值中立的模仿中,展示了图标或设置,如打字机,周年纪念图片,迷宫和宴会厅。在这一过程中,冒险类小说的基本元素在汲取原著的信息后,其内在势能形成了戏仿。另一方面,电影纹理渲染、摄影机等电影元素在纪念原作的电影历史地位的同时,又以致敬戏仿的方式表现了不同的意义。和前面的戏仿一样,这带来了个性化的过程,也带来了乡愁,乡愁导致了跨语境化
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Parody in the Film Viewed through the Theory of Individuation: The Shining in Ready Player One
Parody which used as the way of creating for a long time has stood out by the spread of postmodernism. Parody that is defined as ‘repetition that includes difference’ by Linda Hutcheon structure the new semantic network in the process of transforming the original text. This paper focuses on the generation process of parody from the perspective of Gilbert Simondon, the theory of individuation. Likewise, technics and technical object, also the elements of culture have potential energy causing the transduction to the other individual, and individuation is occurred to form the new meanings. That is, parody is the phenomenon of individuation between the contents that have potential energy inside. Parody is animatedly applicated in the part of visual culture due to the progress of the digital culture. Especially film which is the interface between the technology, the industry, and the art, can be said as the advanced guard of parody aesthetics. After the 1970s, parody applied to begin in earnest in film produce abundant meaning in the network between film connecting the numerous work. One of the node of the film, (2018) tried parody covering the entire popular culture not only film but also game and so on. In that, (1980) is recontextualized of high importance. In the in the , value-neutral parody with no satirical or respectful intent unfolds icon or settings such as typewriter, anniversary picture, maze, and the banquet room. In this progress, after the fundamental elements in the adventure genre are taken the information of the original text, the internal potential energy form the parody. On the other hand, a filmic element such as a film texture rendering and steadycam commemorate the film historical position of the original, at the same time, those are represented in homage parody varied the meaning. Like the aforesaid parody, this brings about the process of individuation, as well as the nostalgia, which leads to trans-contextualization
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