Research On Character Image Building And Relationship Construction In "Spirit-resonance" Theory ——Take The Documentary《Shengshengbuxi》 As An Example

The Chinese culture has a long history,extensive and profound.The long-term geographical environment and long history have endowed the Chinese nation with unusual historical mission and national characteristics,and formed its own unique aesthetic concept system.And film art in the 1890 s to make the Chinese nation the intrinsic aesthetic mode of thinking by the tremendous impact and collision,and within one hundred years across all levels of the Chinese people’s common identity,it has long shook the inherent thinking habits and aesthetic consciousness,today has become the most influential mass media.Crosstalk,as a kind of traditional Chinese art,combines with the "emerging art of western documentary,thus resulting in the collision of eastern and western aesthetic thinking.In today’s contemporary society,which is shrouded by modern high-tech culture,documentary,as a western import,is dominated by western theories in its main creation techniques and character analysis and interpretation.In the nearly one hundred years of development history of documentary in China,the opportunity of discourse expression of Chinese traditional aesthetic way has been neglected or lost to some extent.Therefore,this paper uses Chinese traditional aesthetic art theory and characterization theory to interpret the theme documentary with strong Chinese national uniqueness."spirit-resonance" theory has its own achievements and unique theoretical perspective in the field of fine arts.It is a theory proposed by Gu Kaizhi,the master of Chinese painting aesthetics,which expresses the equal emotional communication state between the subject and object of painting.At the same time,it emphasizes to unify"form" with "spirit" and write "spirit" with "form",that is,the details and typical characteristics of the characters themselves can not be ignored.Professor Zhou Bin of Fudan University has written a large number of anthologies to create a film aesthetic system with Chinese characteristics.To establish an aesthetic system with Chinese characteristics,we should first apply the important ideological resources and theoretical research results of Chinese culture and Chinese aesthetics into the theoretical construction of Chinese film aesthetics,so as to make it reflect distinct Chinese characteristics.Therefore,this paper provides a new perspective for observing the documentary world from the perspective of Chinese characteristics by taking gu Kaizhi’s "vivid theory" as the entry point.