Research Of Representation And Expression Mechanism Of Oscar Images

Representation and expression are basic production mechanisms of arts. However, no onehas cared for this important question in recent one hundred years. As to Oscar arts, manyscholars concentrated on the mechanism of Oscar awards and appreciation of individual works.Obviously, these researches can’t answer and explain the inner mechanism of her charm, the onewhich this thesis points to firstly. The thesis will give direction for the internalization of Chinesemovies by revealing and clarifying the specific representation/expression mechanism of Oscarimage, and exploring her particular aesthetics.This thesis is based on “free motional aesthetics”, observes the materials by systematicperspective, and consults the movies which have got Academy Awards or other single OscarAwards in recent one hundred years. Moreover, there consists of three research methods asfollows: demonstration, analysis and comparison. It mainly refers to performing, time, space, hue,camera movements, composition, rhetoric and title.Performing is one of the most outstanding aesthetic points of the movie art. Successfulperforming which bears moviegoers’ expectation horizon is professional ethics and supremeappeal of the performers. With the commercial and esthetical victory of Oscar art, Prototypeperformance is an important leading art mechanism. Intuitive truth stemming form the imagestyle of prototype performance can highly attract moviegoers’ attention and stimulate their freeemotions. The internal mechanism lies in representing and expressing true humanity to the hilt,thus integrating the subjective and the objective, the general and the special in the shaping ofpersonality. This is the essence of Oscar performance art.Successful to time, movies become a kind of dynamic art. Oscar images have superiority anddeficiency in using time. Its inner time is based on representing objective real time in the purposeof complying with human’s cognitive law. Other inner times turn to satisfying our requirement ofseeking knowledge and beauty, in order to give us empathy by forgetting time. Outer time iscomposed of plot set and film time, the former will influence the latter. Excessive film time isinconsiderate, thus causing plot climax not to resonate with our emotion climax, so the freeemotions are blocked.Movie space appearing as successive two-dimensional frames is the body of movies and thecore of visual aesthetics. The space of Oscar images is on account of human visual principle andcognitive law. It never makes the space difficult to comprehend, but exert itself to construct the ones true to life, novel, well-balanced, and in keeping with human aesthetic law. This practicediffers from some European style which pursues rhetorical and visual-unavailable space onpurpose.Hue of movies helps to convey emotion and meaning with a means of combining blur andsome guidance. Hue mechanism of Oscar images takes expressing humanity as its ultimate goal,and constructing lifelike substance of life as its basic aim; avoids loud formalism; challenges thevisual aesthetic experience of moviegoers on target; and makes efforts to strike a perfect balancebetween representation and expression of hue. So it has the best advantage of inspiringmoviegoers’ free emotions.Camera movements are the basic means of narrative and shaping. Camera movements ofOscar images are based on human’s physiological and psychological needs, and strive to makehumanity be attended and expressed sufficiently, which is different from the principles startingform the European artists’ subjective concept. Judging from the entire mechanism of cameramovements, Oscar images seek and practice the moderate point between representation andexpression to make its camera movement play the highest virtue and stimulate moviegoers’ freeemotions to the hilt.Composition is the basic unit of the camera language and also the basis of movies’ formaesthetics. Different from European movies’ traditional interest in abstract form of composition,Oscar images have formed unique form aesthetics by creating three main principles which arepure form, one with implication and form with emotion. Pure form, whose typical sign iswonders, satisfies the moviegoers’ visual desire with intuitional reality. The forms withimplication and emotion organize pictures according to the expression of special meaning andemotion. Because of basing on rich aesthetic experience of human nature, they two can arousemoviegoers’ strong free emotions much more easily, which obviously distinguish composition ofOscar images from others.Rhetoric makes common image artistic. The rhetoric mechanism of Oscar images is unique.She combines the aesthetic idea of the artists and the moviegoers’ receptivity organically bydeliberating on degree and quantity of rhetoric. She connects actual reason with artisticalperception skillfully, thus provoking the thinking of true humanity. When the true, the good andthe beautiful of the image triggers and flourishes each other, the moviegoers’ intense freeemotions arise.Title is the best platform to show the connotation of a movie, and also is the only lawful andimportant text performance. The aesthetic titles in Oscar can stimulate the moviegoers’ freeemotions. They attract people’s emotion by the name of masterpiece and well-known element in the movie, or by constructing themselves from form, content and implication. But Titles in Oscarhave no united aesthetic benchmarks; some of them are out of aesthetic domain.In a word, Oscar images have realized adequate gasp, reflection and attention of humanityby means of applying representation and expression properly. Further more, she has integratedscience rationality into art perceptual, and merged commerciality and artistry together perfectlyunprecedentedly. Thus she can seem to stimulate moviegoers’ strong free emotions without anydifficulty, and has reached the summit of world movies. So the representation/expressionmechanism of Oscar images will provide mighty reference for the internalization of Chinesemovies.