克拉考尔说:“电影的本性——物质现实的复原。”且不谈这种观点是否准确,不过,就各种艺术相比较而言,电影是与现实生活最为接近的艺术,特别是立体电影、全息电影及气味电影的产生,几乎使电影获得“乱真”的魅力。电影的这种绝妙的逼真性,使它区别于其他艺术,同时,也优于其他艺术。就拿文学来看,我们从“明月松间照,清泉石上流”等形象感强的诗句中,固然也可以看到文学的可见性,可这种“可见”要依靠读者的想像,因而,读者的“所见物”带有明显的不确定性。尽管曹雪芹是那样绘声绘色、维妙维肖地写出了林黛玉的形神状貌;尽管施耐庵化了九牛二虎之力,分毫毕见、栩栩如生地绘出了武松的英雄形象,可在一千个读者的心目中,仍是一 Krakauer said: “The nature of the film - the restoration of the physical reality.” Regardless of the accuracy of such views, however, the film is the closest art to real life, especially the three-dimensional The production of movies, holograms, and scent movies almost made the film “chaotic”. This fantastic realism of the movie distinguishes it from other arts and at the same time outperforms other arts. From a literary point of view, we can certainly see the visibility of literature from the strong sense of the image of “the moon and the moon shines through the clear spring stone” and so on. This “visible” depends on the reader’s imagination. Therefore, Readers of “what you see” with obvious uncertainty. Although Cao Xueqin is so vivid, vividly write the shape of Lin Daiyu appearance; despite Shi Niam’s tremendous efforts, Bi see, vividly portray the heroic image of Wu Song, available at One thousand readers still think one