The Research Of Lin Niantong’s "Jing You" Aesthetic Theory

Lin Niantong who is a well-known film aesthetics researcher in Hong Kong of China, devoted his life to combining the vitality of Chinese traditional aesthetics with modern art cinema,and building up a framework for Chinese film aesthetics."Jing You" aesthetic theo ry was a crystallization of his incessant efforts."Jing"means a shot and a mirroring significance. Shot is the basic unit of a film. "You" is a core idea of Chinese film aesthetics,but has particular features of film.He not only interpreted the western movie technology by u sing traditional Chinese aesthetics,but also uses the western film the ories to analyst Chinese cinematic phenomenon. It was a complete breach with the past Chinese film aesthetics which pursued somethi ng in common or different points.Unfortunately, there is no a mono graph on Lin Niantong at home and abroad.And the relate comment s of "Jing You" aesthetic theory can only be seen in various kinds of books and papers.Hereby, this paper based on the close reading of the theory te xt, analyzed the "Jing You" aesthetic theory in west film aesthetic s and Chinese traditional aesthetics by combing and integrating of i ts early Chinese film aesthetics thoughts."Jing You" aesthetic theor y contained the film itself features and Chinese art deep cultural thi nking, showing distinct universality and nationality.The first chapter confirms the theory of "Jing You" aesthetic f rom the language of the Chinese movie practice and the evolution of aesthetic theory two aspects in the theory background of Lin N iantong’study.On the one hand,early Chinese films mainly medium shot system view.A depth of field lens and mobile lens developed middle of film language form,which formed an open flow visual sp ace in the third layer.This space is a mirror image of the world to let visitor review reality.On the other hand,Chinese film aesthetics development divided into "single shot—montage" aesthetic, "You"ae sthetic and "third period" aesthetic three stages, which on the basis concept of You".The second chapter analyses "Jing You" aesthetic theory for t he universality of the world film aesthetics (across nationality) valu e from the perspective rule, space concept ontology to the movie w ith the aid of western film aesthetic theory. Scatter perspective take the place of focus perspective in the dominant position in the mov ie, picking up Chinese traditional space consciousness of creation. "Photo theory", "Magic mirror", "Mirror warning" explore the relat ionship between film space and realistic space theory.The film cone ept which combined montage aesthetics with single lens film aesthet ics reveals the film the dialectic relationship between the real and r eality, housekeeping outside the western theory of classic filmThe third chapter, according to the process of nationalization o f Chinese film, explains the national characteristics of "Jing You" a esthetic theory.The Chinese film in 30-40s of the 20th century acco rding to the social reality, expressed national life in content by co mbining with montage aesthetics and a single lens aesthetics.Of the 50s and early 60s, the Chinese filmmakers assimilated a good dea 1 of Chinese traditional art, keep the film form of national colors ab out further development. Lin Niantong pointed out that the key in t he traditional artistic thought is the succession and development of the "You" by tracing to the source of it.The Chinese film except repr esented by painting traditional art, also realized the Chinese aestheti cs principle of "You" with the characteristics of "integrity of time and space " and motility."Jing You" aesthetic theory shows a distin ct nationality due to the deep Chinese art thinking.The fourth chapter discusses the insights and oversights of "Ji ng You" aesthetic theory based on the analysis of the previous two chapters.The writing of film aesthetics history overcomes the fault of geographical location and political factors in order to "You" as one of the core concepts in the beginning.With a generous attitude, Lin Niantong actively implemented fusion of Chinese and western culture,and then broken the dilemma of binary structure,realized th e academic development of Chinese film aesthetics in the world.Ho wever,film and traditional Chinese aesthetics are a unity of opposites s o devotion to fusion of discount to ignore.The transplantation of the ories about foreign movies also partly due to abandon the complexi ty produce biased.