The Aesthetic Study Of Film Spectacle

The film spectacle aesthetic creates meaning with strange image and shapes the image system with spectacle visual effect in the film.Real things enter the film and are given mythological color;The mythic plot in the film is integrated into People’s Daily life in a way that is more easily perceived and recognized.When the concept of "spectacle film" was discussed in the academic circle,films focusing on visual impact,with grand scenes,thrilling action,ultra-fast speed and body display as the main forms of expression,came into being one after another,and promoted this discussion trend."Reality" and "spectacle",the dual nature of film is separated,and the film spectacle seems to be labeled as "technology".This paper will trace the origin of the aesthetic elements of spectacle before the birth of film,and sort out the evolution of spectacle since the birth of film,and explore the aesthetic causes of spectacle of film.This paper analyzes the theoretical category of spectacle aesthetics in movies,and clarifies the definition of "spectacle","spectacle" in the film,"spectacle of film","spectacle of film aesthetics" and other concepts.Western wonder aesthetic has a long history.Due to the fear of the supernatural,early thinkers interpreted the world in a mysterious way.The "sense of sublimity" also comes from people’s psychological fear of "infinite" things.Surprise,particularity,ugliness,surrealism and absurdity give aesthetic pleasure in a purifying form like tragedy.The history of Chinese literature is also full of traces of the aesthetic concept of wonders,the ancient totem culture,the "transcendental imagination" of the Pre-Qin period,the "weird" aesthetic tendency of Wei Dynasty and Jin Dynasty,people and things change each other in the Tang legends and Song legends,the dramas of Yuan Dynasty and the novels of Ming Dynasty and Qing Dynasty all have wonders.This paper probes into André Bazin‘s theory of reality,Mulvey’s theory of "vision",Lash and Dudley’s theory of spectacle of images,and combs the development of film spectacle theory.And the historical practice of the aesthetic spectacle of the film is interpreted,the historical practice of the aesthetic spectacle of the western film is combined with different film schools of western countries to demonstrate the aesthetic expression of the spectacle of the German expressionist film,the French impressionist film and surrealism film,the Soviet montage film.For the analysis of Chinese films,this paper sums up the aesthetic forms of spectacle in early film,the 1930 s film,the wartime and postwar period film,"seventeen years" and "Cultural Revolution" period film,"New period" film and the technology mature period film.This paper defines the realistic form of the aesthetic appreciation of spectacle in movies,starts from the perspective of the presentation of the aesthetic categories of spectacle,demonstrates the expression ways of the aesthetic concepts of spectacle such as mystery,sublime,surprise,fear and absurdity in movies,and expounds the realistic form of the aesthetic appreciation of spectacle in movies by combining the aesthetic creation of genre movies and film language.From the perspective of consumer society,this paper probes into the audience’s psychology of the aesthetic spectacle of movies,and studies its unique aesthetic desires with sensory stimulation as the starting point.The study of the aesthetics of spectacle in film contributes to the development of the film industry and promotes the transformation of spectacle of visual construction.People’s desire for "non-everyday surprises" promotes increasingly surprising visual consumption.The public’s desire for sensory stimulation is interpreted from the perspectives of Freud’s desire theory,Bakhtin’s carnival theory and Hobbes’ theory of imagination and desire.The Dionysian spirit in carnival contains a strong passion that infuses the audience who appreciate artworks.Rational thinking seems to temporarily give way to more direct and perceptual visual stimulation,and viewers use "synesthesia" to construct the spectacle internally.In the dynamic process of communication and culture formation,media culture contributes to the contemporary landscape of daily life.The development of media has drawn much attention to spectacle dominated by visual experience and stimulated the public’s potential demand for spectacle.After the birth of film,the desire for "attraction" made the performance of "spectacle" and the creation of strong visual impact become the appeal of film creators.The emergence of "post-film" eliminated the "intermedia" of film.Image space becomes information space,and the perception of image becomes the processing of information.This paper interprets the cultural influence of film spectacle aesthetics,demonstrates the radical visuality of mass culture in the image era after the rise of image aesthetics by combining the aesthetic characteristics of mass culture,explores the internal needs of film spectacle aesthetics by combining film psychology,and analyzes the characteristics of film industry development in the digital age.From the perspective of aesthetic intermediary,"attention economy","digital culture industry","digital attraction" and so on,this paper studies the cultural influence of film spectacle aesthetic appreciation.Film is committed to providing people with a more realistic illusion,spectacle images with realistic images and action reproduction to shock people.Bartomore believes that shock is related to the medium people consume,and that the appeal of a film is closely linked to the audience,which in recent years has been supported by the audience’s pursuit of sensory stimulation brought by spectacle images.The maturity of digital technology makes the imbalance between technology and art in the aesthetic creation of film spectacle,and the fact and spectacle are regarded as the two extreme expression ways of film,which are the main problems in the discussion of film spectacle at the present stage.When the rational charm culture turns to the perceptual shock culture,As an ideographic means to pursue visual representation and coordinate text narration,"spectacle" in the film moves and grafts the aesthetic elements such as madness,dream and illusion to produce spectacle effect,and arouses the audience’s aesthetic emotions at a deeper level while stimulating the audience with external images is what the film-makers need to pay attention to.