This is my doctoral thesis completed during my PhD studies at the Central Academy of Fine Arts.
The rapid development of digital media and new technologies has reinforced the significance of moving images while simultaneously introducing crises of commercialization and instrumentalization, compressing their space as a medium for thought and artistic expression. To counteract these challenges, practitioners must engage in sustained and in-depth exploration to further unlock the potential of moving images, fostering a counterforce that enables them to evolve in tandem with the times.
This study focuses on fictional artifacts in moving image art—objects that function as both material elements within the image and carriers of specific concepts, emotions, intentions, or symbolic meanings—seeking to construct a clear and effective analytical framework.
By employing conceptual blending theory and other metaphorical tools, this research establishes a foundational approach to analyzing fictional artifacts. To address more complex scenarios, possible world theory is introduced, conceptualizing fictional artifacts as a composite of possible worlds and possible objects, which are then systematically categorized. Through the assemblage of different types of possible worlds and possible objects, combined with specific material choices and technical methodologies, the study systematically explores the construction of fictional artifacts. Furthermore, this research delves into their various roles within moving images—not only functioning as performative objects or independent creative entities but also extending the expressive limits of moving images by generating redundant information, creating fog effects that destabilize viewer subjectivity, and inducing transgressive experiences that challenge perceptual and cognitive boundaries.
数字媒介与新技术的迅猛发展加强了影像的重要性，也带来了娱乐化和工具化的危机，影像作为思想与艺术载体的空间被大幅度挤压。应对挑战，从业者们需要通过持续且深入的工作来进一步释放影像的潜能，形成对抗的力量，令影像伴随时代同步成长。
在影像艺术中，“虚构人造物”往往具有多重性质，它们既是影像中的物质元素，也承载特定的概念、情感、意图或象征。本文将聚焦影像中的虚构人造物，试图为其构建一个清晰且有效的综合性框架。
本研究借助概念混合理论等隐喻工具来对虚构人造物进行基础性分析。为应对更复杂的情况，引入可能世界理论，将虚构人造物视为可能世界与可能物的复合体，并分别对二者展开类别划分。通过装配不同类型的可能世界和可能物，结合不同材料选择与技术手段，系统的论述了虚构人造物的建构方法。进而深度剖析了其在影像中的多种作用，它们既可作为表演物或独立的创作体，也可以通过制造冗余信息来触及影像表达的极限，或是引发迷雾效应，令观众的主体性不稳定并产生僭越体验。