Research On Appreciation And Dissemination Of The Movie Spectacle

Movie spectacle could be treated as an epitome of the modern society which tends to create spectacle. This clearly reflects the transformation of the mass aesthetic taste to a visual spectacle one. Simultaneously, it also reflects the supreme ideology output capability of spectacle which has a deep influence on the mass aesthetic taste. This article takes movies as key point, give an analysis of theory source and inner composition from the point view of appreciation and dissemination of spectacle. Moreover, the gain and the lost of Chinese movie spectacle will be discussed based on these.The development of Chinese movie spectacle and the popularizing of theories about movie spectacle in china are not happened by chance. In china, creating spectacles in movies is inevitable, for the mass aesthetic taste is turning to three directions (from language expression to image expression, from time-mode to space-mode, from rational culture to pleasure culture). The whole modern life is a gather of spectacles and kind of representation. And the life net weaved by media and consumption is becoming denser. The theory of making spectacles finds its own way in china.Several conditions must be satisfied when making movie spectacle. Firstly, take advantage of culture differences, the unfamiliar feeling could help the movie become more attractive. Secondly, upgrade the equipment to meet the need of spectators' sensory stimulation. Thirdly, give more exaggerated close-ups to the actors. Fourthly, make use of the computer technology to finish post-production. The later three are all the necessary conditions to achieve the first one. Unfamiliar is one cherished item of movie spectacle. Through aimed integrating and packing, we present the normal things on the screen; it becomes some kind of totally different social life. This is the so-called simulation technology.The theory of spectacle is not that complicated. From the creator Guy Debord to the fore founder Laura Mulvey, from the father of mass communication Jean Baudrillard to the disseminator Douglas Kellner. Although they own varied research angles, they all believe that we are in the progress of the making speculations. It is impossible to change the fact, what we should do is to have a good knowledge of it to avoid the passive, blind chasing which will cause a new product of recreation by mass media.Chinese movie spectacle is in its starting age; both of its software and its hardware are insufficient. In the creation process, we worth material gains sometimes, and more or less being improvidence. Patient works are seldom seen. Narrative skills, genre films, learning, adaptation and assimilation of skills are all should be improved. From the only one film HERO which directed by Zhang Yimou, to the competitive prosperous, then to nowadays' trapping into a hard situation, to make a way which come off early highs. However, we still look forward to the excellent performance of the Chinese movie in the coming 10 years.