远离胡迪尼：特效崩溃的“魔力”

IF 0.3 2区艺术学 0 FILM, RADIO, TELEVISION

Animation-An Interdisciplinary Journal Pub Date : 2023-03-01 DOI:10.1177/17468477231155541

N. Jones

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引用次数: 0

摘要

VFX(视觉效果)分解是简短的辅助视频，宣传由VFX公司为特定电影或电视节目所做的数字动画工作。声称要带领观众“在神奇的视觉特效背后”，分解各种各样的镜头和序列，并指出在当代大片电影中广泛使用计算机生成图像。但是，尽管崩溃揭示了一些幻觉，但它们也召唤出了另一些幻觉。分解操作的速度，流动性和有效性的寄存器，既不显示许多人也不显示大量的时间，它需要精心生成所有这些视觉特效。在这篇文章中，作者揭示了VFX分解中劳动和持续时间的遗漏如何反映并有助于更广泛(错误)地理解数字效果是非物质的，即时的和神奇的。他的案例研究是《蜘蛛侠:英雄远征》(2019)，这部电影将视觉特效与魔法联系在一起，引发了一些壮观视觉效果的崩溃，甚至直接诋毁了那些为自己的作品寻求公平认可的特效艺术家。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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Far from Houdini: The ‘Magic’ of the VFX Breakdown

VFX (visual effects) breakdowns are short ancillary videos that advertise the digital animation work undertaken by a VFX company for a particular film or television programme. Claiming to take viewers ‘behind the magic’ of VFX, breakdowns disassemble a wide variety of shots and sequences, and point to the extensive use of computer-generated imagery in contemporary blockbuster cinema. But, as much as breakdowns reveal some illusions, they conjure others. Breakdowns operate in a register of speed, fluidity and efficacy, showing neither the many people nor the extensive periods of time that it takes to painstakingly generate all these VFX. In this article, the author reveals how the omission of labour and duration in VFX breakdowns both reflects and contributes to a broader (mis)understanding of digital effects as immaterial, instantaneous and magical. His case study is Spider-Man: Far From Home (2019), a film that links VFX with magic, evokes the breakdown in some of its spectacular visuals, and even outright villainizes those effects artists who seek fair recognition for their work.

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来源期刊

Animation-An Interdisciplinary Journal FILM, RADIO, TELEVISION-

CiteScore

0.70

自引率

25.00%

发文量

期刊介绍： Especially since the digital shift, animation is increasingly pervasive and implemented in many ways in many disciplines. Animation: An Interdisciplinary Journal provides the first cohesive, international peer-reviewed publishing platform for animation that unites contributions from a wide range of research agendas and creative practice. The journal"s scope is very comprehensive, yet its focus is clear and simple. The journal addresses all animation made using all known (and yet to be developed) techniques - from 16th century optical devices to contemporary digital media - revealing its implications on other forms of time-based media expression past, present and future.