Rethinking film aesthetics in the digital age

The emergence of digital technology has had a transformative impact on the field of film.Although the influence of digital technology is various, at the level of film aesthetics, most of the discussions on its creation concept and movie-watching mechanism are centered on the relationship between image and reality.

After digital technology is widely used in the field of film, a large number of digital composite pictures have replaced the traditional live-action shooting shots, and the way of film shooting has changed fundamentally.

For example, in the movie forrest gump, President Johnson’s meeting with forrest gump is presented in the form of historical expansion film, which makes the audience feel that this is a real history happened, but it is all completed by digital synthesis technology on the computer.

These undoubtedly greatly impact bazan’s theory of image ontology. The filmmakers no longer need to aim the camera at the reality, but can simulate an unprecedented “sense of reality”.

Digital technology has greatly expanded the film expression grammar system, enhance the degree of freedom of image’s writing, all based on reality and under the digital technology of packaging and away from the real image popping up on screen, image symbols express the comparability between the reality and starts the principle and presents its own autonomy and meaning.

Therefore, the development of film aesthetics actually follows the order of “unity” between its inner image and reality, and digital technology gives it “gorgeous appearance” in the process of “convergence”.

Today, we can’t imagine what a science fiction or historical film without any digital technology will be like. In the future, digital technology will still be an important support for the expansion of content breadth and the enhancement of authenticity for a film as another “reality”.

Cloverfield files – an innovative exploration of real cinema

“Clover files” is a DV to present the disaster of the film, at the same time, the film is the film content from the screen liberation, with a variety of means to the fictional content of the film to the Internet for the authenticity of the original work, but also in the operational level and theoretical level of the film brought new thinking.While the story is nothing new, its value is in two other very important ways.First, this film USES DV documentary means to show the disaster, is a disaster film attempt and breakthrough.The second is its originality.

It separates the whole event that should be presented in the film from the film, and makes the event real by means of Internet text, image and video.Director matt reeves said: “what appealed to me about this film was that it was written in a very personal way, despite having such powerful images.

As the characters step into the camera, the emotion comes out, so my real challenge is to find a way to wrap some extraordinary elements in a ridiculous way, which is the attack of the monster, and to deal with the development of the whole story in a completely real way.”Cloverfield” this movie a new presentation benefit from the development of network technology, as McLuhan points out “the medium is the message”, this movie can be integrated with the network not only brings new contents and forms, and the structure of the it for the whole of art will also have a profound impact, because this is a reflection of a “new media art”.”Cloverfield”.

Therefore, the film itself is its real significance, it will be a fictional movie content moved into the real space, almost completely true in some way – news and official website, blog, a huge mass of data link, and so on to fiction actualized, on the way to the pursuit of true, the film is a well-meaning, also provides a brand new age of the Internet movie presentation.

Analysis of narrative strategies of Weihua movies based on media fusion background

In the context of media fusion, creators need to pay attention to the distribution of narrative resources from the beginning, so that the storyline can develop into another medium. And in order to ensure a unified narrative experience with comics, film directors need not only to communicate closely with the comics production team, but also to provide detailed guidance on the film.

Hypermedia narration provides the audience with two forms of participation: node participation and all-round participation. Full participation refers to the audience through television, movies, live animation, comics and the internet to explore the clues, to maintain the audience’s interest in their participation and enthusiasm, to develop the audience into a big fan of the fans. Weihua attaches great importance to the grandeur of the plot, which also allows the audience to keep up and participate in any node, and to take an interest in the direction and development of the subsequent plot. Both of these modes of participation embody an important feature of hypermedia narration: The various parts of the hypermedia narration are independent and integrated with each other.

When the parts are combined, they can play an unexpected, unprecedented overall effect, and in the process, the various parts will also emphasize the degree of cooperation with the media and their own characteristics, even if the node participation, but also can produce a good sense of generation, the audience quickly into the plot, so that it gets an excellent narrative experience. For example, “Captain America 2” is a story that stretches from the timeline of the Aegis agent, and the audience is able to get more story clues after watching the movie and quickly enter the follow-up storyline of the Aegis agent. At the same time, the company transforms the story perspective of “Aegis Agent” into “American team L”, can produce a stronger visual impact, so that the audience who has not seen the “Aegis Agent” can also devote themselves to the story plot.

The globalization of film and television in Crouching Tiger Hidden Dragon

Film is an image language, film is an ideological state apparatus, film is a cultural industry, all these definitions of film have their own rationality.

Director Ang Lee has lived in the United States for many years , Both Chinese and Western cultures know something about it. Modern film is not only entertainment , but also the dissemination of culture.

Most of Ang Lee’s films are filmed by the fusion of Chinese and Western ideas , which build a bridge between East and West culture. “Crouching Tiger Hidden Dragon” in the performance of Chinese traditional culture , the play has danqing calligraphy and painting , There are flying eaves , tea ceremony to calligraphy , From Confucianism to Zhuang Zen unscathed , 18 like weapons. Through the image of Li Mu Bai shows the oriental spirit of “inner Taoism”. And “Crouching Tiger Hidden Dragon” is also the embodiment of the impact and integration of Chinese and Western culture representatives. “Crouching Tiger Hidden Dragon” has built a bridge between eastern and Western cultural integration. Will be the traditional Chinese cultural world.

In the play of Crouching Tiger, Hidden Dragon. , Ang Lee used a plot clear line and a plot dark lines alternating development of the technique to complete their own Director vocabulary , Put forward their own views on eastern and Western cultures and the future of humanity as a whole. In this movie, Zhang Ziyi plays the Jade Dragon is clear line , It’s a representative symbol of Western culture. , A symbol of the infinite expansion of desire. , Symbolizes the need for people to open up freely and unlimited realization of their desires to pursue this idea. On the other hand , Chow Yun-Fat plays Li Mu Bai and Yang Zijiong as Shilin is dark lines , is the representative symbol of Oriental

The Difference Between Twelve Angry Men and Sherlock Holmes

Judgments need critical thinking, which is reflected vividly in Twelve Angry Men. In the 1957 American film Twelve Angry Men, an 18-year-old boy who was suspected of killing his father will be judged by the jury of the case made up of twelve persons of different professions. In the jury room they were to reach an unanimous decision that whether the boy was guilty or not. The whole movie lasts 96 minutes, and more than 90 minutes, there is only one scene, which is the room where the jury is discussing, and the main process is 12 men having conversations.

I believe many people like to watch Sherlock Holmes and detective conan series. So of these two series and Twelve Angry Men, what are the similarities and differences? It seems that the similarity between them is very obvious, is to use reasoning to determine whether the suspect is the real killer; But the difference between them is also very obvious. The detective series must use scenarios and the parties concerned to carry out investigation and reasoning, more emphasis on events, while Twelve Angry Men basically is to show the 12 members of the jury in expressing their claim. The difference in thinking reflected in these different characters is more stimulating to our experience.

For example, No. 8 on the jury was the only one who thought the boy innocent on the first vote. No. 3 asked him “Do you really think he is innocent?” He said, “I don’t know. I just want to know more about him.” Number 8 neither explicitly believes that the witness is not problematic, nor does he explicitly believe what the teenager says. He is not on either side of the argument, and his claim is the need for them is not to rush to conclusions based on “feelings”, but to discuss them. The thinking behind No. 8 is critical thinking — critical thinking occurs when we evaluate the reasoning that leads to conclusions. While the testimony of witnesses seems to “prove” that the teenager was the killer, it is still necessary to evaluate the reasoning given by others. This is in contrast to other people, who only found words to support their conclusions in the prosecutor’s statements, rather than in the “doubt-analysis-doubt” evaluation cycle. Therefore, they showed a lot of errors that should not occur in critical thinking in the dialogue， and that’s a mistake we often make.