A Study Of The Relationship Between The War Of Resistance Against Japan TV Series And The Audience From The Perspective Of The Second Semiotics Of Film

As an important part of the theme of Chinese TV dramas,the Anti-Japanese War dramas are favored by audiences and directors because of their creative styles that are historically and artistically compatible.TV dramas have become one of the most popular art forms of entertainment and entertainment,with long narrative time,detailed plot descriptions,and life-oriented characters.They have become the most popular way to communicate the history of the War of Resistance.The tragic historical events and the heroic biographies also provided a large amount of creative materials for the TV dramas.Under the circumstances that catered to the demands of the theme of the era,the unique artistic value of the TV series during the War of Resistance was established.At present,the research contents of scholars in the industry mostly focus on the type of work,character images,and case analysis of the anti-Japanese TV series.With the gradual increase in the number of "Anti-Japanese theatrical dramas",academics project their eyes on new research areas,which is the research on the value of anti-Japanese TV drama works,including the social value and the communication value of works.For example,the research on the values of the Anti-Japanese War dramas,the research on the mainstream ideology of grassroots characters,the negative effects of the spread of the Anti-Japanese Divine Drama,the research on the anti-Japanese dramas strengthening the sense of national identity,and so on.However,the semiotic interpretations of the anti-Japanese war dramas are few.Therefore,this article will introduce the relevant theories of film semiotics,try to break through the popular research direction,and research and interpret the war TV series from a new perspective.The first chapter of this article is a brief introduction to the research background,methods,development status of the anti-Japanese drama,and research status at home and abroad.The second chapter briefly describes the development background of the second semiotics of the film and the theoretical knowledge related to this research.The third chapter is the Anti-Japanese War drama "Why? And in ",using the audience’s psychoanalytic theory of film semiotics,to explore the audience’s desire to watch the anti-Japanese TV dramas,and to interpret the anti-Japanese TV dramas in historicalimages,modern life,and national spirit can make up for the lack of audiences,and explore the value of anti-Japanese TV dramas;The fourth chapter,"How does the Anti-Japanese TV drama exist",quotes the concept of "good object" in the film semiotics,interprets the anti-Japanese TV drama to develop and exist in an innovative way,and investigate how the anti-Japanese TV series continued to produce "good object" at the narrative level.Chapter Five,"How does the anti-Japanese TV drama exist",analyzes the audience to establish a connection with the anti-Japanese TV drama through the identification mechanism,and analyzes the recognition given to the anti-Japanese TV drama by the audience,female viewers and young viewers at the role level;Chapter Six: Interpretation of the Symbiotic Relationship between the Anti-Japanese War TV Series and the Audience.Based on the related concepts of semiotic film science and the "film institution" theory as the research framework,this article expounds the development of the anti-Japanese war dramas around the theory of the audience’s spiritual analysis,and further reveals the bearing relationship between the anti-Japanese dramas and the audience.