影视感受流变探究

Exploring the Flow and Change of Film and Television Perception

关键词:  风景园林  影视感受  感受流变  观众-作品互动  感受回路设计  审美体验

Key words:  landscape architecture  film and television perception  perception flow and change  audience-works interaction  perception loop design  aesthetic experience

摘要:

深入探究影视作品中观众审美感受的动态流变机制，旨在构建一套系统的影视感受回路设计原理，以观众为中心优化影视创作的审美体验。传统影视 审美理论多关注静态元素，如叙事结构或视听符号，而忽略观众感受的动态过程。借鉴风景园林美感研究中的“流变性”概念——强调美感并非凝固瞬间，而是 不断流动、随时而变的生命过程，以及“人-境互动”理念，将影视作品视为一种特殊的“景”，观众则作为主观感知主体，与作品形成双向互动。通过重构“观 众-作品互动”模型，从时间维度、空间维度和心理维度等多维度剖析感受的流变性内涵，揭示其并非一次性体验，而是持续发展的过程。在此基础上，引入物理 学中的“欧姆定律”(I=V/R)作为类比，提出“感受流”(perception flow，类比电流，代表审美体验强度与质量)、“感受阻”(perception resistance，类 比电阻，阻碍流动的因素，如创作缺陷或外部干扰)和“感受势”(perception potential，类比电压，推动流动的内在动力，如艺术魅力与叙事深度)的研究框 架，并详细阐述了5种影视感受回路设计模式：1)身体-环境回路，通过视听语言与环境构建生理感知；2)心情-情境回路，通过情节与角色激发心理情绪；3)理 念-意境回路，通过主题与价值观引导理性认知；4)发现-新生回路，通过叙事反转创造惊喜体验；5)创意-意向回路，通过创作者预设与观众阐释互动激发想象 延伸。

Abstract:

This study explores the dynamic fluidity mechanism of audience aesthetic perceptions in film and television works, with the goal of constructing a systematic framework of perception loop design principles to enhance audience-centered aesthetic experiences in film creation. Traditional aesthetic theories in film and television often focus on static components, such as narrative structure, visual composition, or audiovisual symbols, while neglecting the dynamic, evolving nature of audience perceptions. Drawing inspiration from the concept of "fluidity" in landscape architecture aesthetics, which posits that beauty is not a static moment but a continuously flowing, ever-evolving life process, this study introduces the "human-environment interaction" paradigm. Here, film and television works are conceptualized as a unique form of "scene", with audiences acting as subjective perceiving agents engaged in bidirectional interactions with the works. By reconstructing the "audience-work interaction" model, this research examines the multifaceted fluidity of perceptions across temporal (evolving with narrative progression), spatial (influenced by scene transitions and visual-auditory environments), and psychological (spanning physiological responses to cognitive and emotional resonance) dimensions, underscoring that aesthetic experiences are not singular events but ongoing, developmental processes. Employing an analogy to Ohm's law in physics (I=V/R), this study proposes a novel framework comprising "perception flow" (analogous to current, representing the intensity and quality of aesthetic experiences), "perception resistance" (akin to resistance, encompassing obstacles such as creative flaws, narrative inconsistencies, or external distractions), and "perception potential" (comparable to voltage, driven by the intrinsic artistic allure, narrative depth, and emotional resonance of the work). This framework illuminates how filmmakers can amplify audience engagement by maximizing perception potential while minimizing resistance to sustain a robust perception flow. The study further delineates five perception loop design modes to guide filmmakers in crafting impactful aesthetic experiences: 1) the body-environment loop, which leverages audiovisual language to evoke physiological responses, such as heightened heart rates during intense scenes; 2) the mood-situation loop, which uses plot developments and character arcs to trigger psychological and emotional engagement; 3) the idea-realm loop, which channels themes and values to stimulate rational cognition and philosophical reflection; 4) the discovery-renewal loop, which employs narrative twists and surprises to foster novel aesthetic experiences; and 5) the creativity-intention loop, which facilitates interaction between a creator's artistic vision and the audience's interpretive responses, as seen in films like Mulholland Drive, where non-linear storytelling sparks imaginative exploration. These loops are not isolated but interweave to create a holistic, dynamic aesthetic experience, ensuring sustained audience immersion and emotional resonance. By integrating these principles, filmmakers can systematically design works that resonate deeply with audiences, fostering lasting aesthetic and intellectual impact. This study not only bridges landscape architecture's fluidity concept with film aesthetics but also provides a practical methodology for creators to elevate audience experiences, offering a fresh perspective on the dynamic interplay between viewers and cinematic works.