身處數位年代之中,在數位技術蓬勃發展的影響下,大量的影像已經不斷的在滲透人類生活,而這種人造影像儼然已經成為一種自然景觀,導致我們所存在的世界形成一種以視覺再現主宰的世界,而活動影像歷經多次重大的改變,影響的層面之廣泛,最直接的就是影像的取得方式與儲存格式等,相對應的媒體的種類也遭受波及,而這波科技的浪潮還正仍然不斷的朝向我們襲捲而來。 本研究主要依循著活動影像的發展脈絡探究影像對人類的影響,從洞穴壁畫作為開端,再延伸至電影、錄像藝術及新媒體藝術,並且針對這三項當中活動影像的部分,分析影像概念並試圖藉由學說及觀點尋找自身的特點,透由文獻的爬梳與整理了解三者在觀念上的交會與技術上的關係,並列舉電影及錄像藝術作品相互對照,試論證三者間的關聯性並輔以學者曼諾威克的觀點,最後再回到新媒體藝術部分加以論述,嘗試提出未來的發展與願景。
In the digital age, digital technologies have hugely expanded; therefore, digital images have constantly involved in everyone's life. The artificial image seems as if it is a natural scene. Accordingly, we live in the world that is governed by visual representation. The moving image has repeatedly changed. This influence is very wide; for example, this not only changes the image acquisition method and the storage format but also changes the media types. In brief, a wave of technology comes rushing towards us at an unstoppable rate. This study mainly follows the context of development of the moving image to explore the effect of image on human beings. This thesis begins with the cave paintings and then extends to Cinema, Video Art, and New Media Art. More importantly, this thesis is focus on the moving image parts among the above three items. By analyzing the concept of image, one might find its own characteristics through theory and point of view. We can understand the technical relation and the concept of intersection among the movie, Video Art, and New Media Art by literature review. In this study, we compared the relationship between Cinema and Video Art; also, the point of view of Lev Manovich has been used to proof the relationship between Cinema, Video Art, and New Media Art. Finally, the New Media Art has been amply discussed and then I attempt to propose my future development and vision.