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电影理论研究 ›› 2026, Vol. 8 ›› Issue (27): 5-17.

• 学术前沿 •    下一篇

时间之舞： 字幕体验的形态、肌理与可能


  

  1. 四川大学 重庆移通创意写作学院
  • 出版日期:2026-06-10 发布日期:2026-07-28

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  • Online:2026-06-10 Published:2026-07-28

摘要：

传统“效果 - 字幕”研究聚焦于字幕 与影像的静态功能关联，未充分考虑观众的动态时间体验，导致功能分析与实际观影感受脱节。然而在先验现 象学视角下，“时间 - 字幕”的提出作 为新的研究范式，旨在将字幕置入观众的感知流之中，并据此区分出“同 步 - 字幕”与“异步 - 字幕”两种基 本体验形态：前者营造沉浸与统一感， 后者通过断裂与间离激发反思与注意 的重新分配。更进一步来说，字幕体 验并非静态的二元结构，而是在感知流中呈现出持续的交织与振荡。这一 动态结构不仅深化了对“时间 - 字幕” 的理解，也为字幕研究开辟了新的理论路径。

关键词: 先验现象学, 观影体验, 效果 - 字幕, 时间 - 字幕

Abstract:

The cinematic artistry of Xie Jin is established from the opening scenes, where a distinct mode of national imagemaking is set in motion through a dialectical visual rhetoric. Drawing on a comparative analysis of opening sequences from his representative works across different periods, this article argues that Xie Jin employs a‘ roaming gaze’—a mobile visual strategy informed by Chinese aesthetic traditions—to shape ensemble figures and organize cinematic space . This method gives rise to a form of psychological spacetime rooted in an affect-centered philosophical orientation often associated with Confucian thought. Through this practice, Xie Jin’s narrative form achieves an immanent transcendence of the classical Hollywood model while remaining distinct from the stylistic tendencies of his contemporaries in Chinese cinema. Positioned at the intersection of national and global cinematic traditions, his fflms articulate a reffexive mode of visual representation that is both self-grounding and outward-looking. This study seeks to illuminate the artistic strategies and cultural logic through which national imagery is constructed in the opening scenes of his fflms.

Key words: Xie Jin, opening scene, roaming gaze, national cinema, comparative studies