The Evolution And Comparative Study Of Visual Reality In Film

Images in the digital age construct a grand mimetic world,and the imaginary realm portrayed in literary works becomes a visible and audible possibility in visual artworks.at the beginning of the 20 th century,Heidegger proposed that images would become the main way of communication in the world,and in the following half century,against the background of digital technology and consumer society,visual culture rolled up waves all over the world and became the main cause of postmodern culture.Film,as a representative of visual art,responds to the actual turn of visual production-from narrative to spectacle,dissecting the aesthetic meaning of time and space presented by traditional film narrative based on the evolving perspective of film visual reality.The montage produces the association and aesthetic experience of "meaning beyond words" through the grouping of shots;the long shot,on the other hand,is based on the reality of the scene,while ensuring the authenticity and continuity of time and space,striving to achieve a comprehensive reproduction of the objective world.In post-modern cinema,the influence of digital technology,mass consumption and other factors on aesthetic experience,visuality has increasingly become the dominant factor in the production and creation of visual art,the presentation of film images is no longer limited by realistic factors,digital technology makes film images more realistic at the same time,processing to create many scenes that cannot be reproduced in real time and space.The visual realism presented by film images is more in line with the context of the image era,and thus film shows a shift from narrative to spectacle.Starting from the ontological notion of reality in image ontology,this paper compares film with other visual arts,in terms of production and projection methods,and outlines the characteristics of film aesthetics at the level of aesthetic reception,as well as the strategies of film to convey visual reality.On the other hand,the evolution of the visual reality experience in narrative and spectacle films is reviewed.Although the spectacle films subvert the ontological view of reality,the current situation of the construction of visual reality and the association of the aesthetic subject is reinterpreted from the perspective of the concept of "hyper-reality" of mimesis.In the midst of the digitalization of art,we search for the vitality of the visual reality in the postmodern development process.The first chapter,"Contrasting Visual Realism in Different Art Categories," compares three forms of artistic expression: painting,stage and film from the perspective of aesthetic reception.Based on the traditional art of "gazing and watching",we compare the transformation of the "shock" mode in the era of reproduction technology and grasp the characteristics of film art as a modern visual art-dynamic The two-dimensional display of images and the shocking experience.As a visual art,the focus effect of the painting frame and the film screen are different;the performance time and space of the stage and the image time and space of the film,summarizing the characteristics of the aesthetic acceptance of film art from the contrasted differences,and paving the way for the following strategies of film narrative and image presentation of visual reality.Chapter two,firstly summarizes the strategies of visual truth expression in film,followed by the narrative techniques of traditional film,analyzes montage and long shot as important creative techniques in film theory,expresses the image truth from different aspects,and gradually builds up the film world of visual truth.In the context of post-modern visual culture,the strategy of expressing visual reality in cinema shifts from narrative to spectacle,and spectacle films produce reality through mimesis,departing from the foundation of image ontology.During the evolution from narrative to spectacle,the strategies of constructing visual reality in the postmodern environment have also changed.Chapter three,by sorting out the visual tendencies of aesthetic subjects in the context of postmodern visual culture,on the other hand,starts from the visual construction of cinematographic mimesis and points out that spectacle is the expression and characteristic of cinematographic mimesis in the postmodern era.On the one hand,it analyzes the dependence of film mimesis on digital technology from the relationship between technology and art;on the other hand,it talks about the lack of objective reality in film mimesis through the neglect and weakening of the objective world in the level of image mimesis in spectacle films,so as to re-examine the relationship between film visual reality and the aesthetic subject.The relationship between visual reality and the aesthetic subject is re-examined.Finally,the new experience of visual reality in the digital age,which brings mimesis,is viewed with a dialectical attitude from the hyper-reality that prevails in post-modern society.The anthropomorphic image replaces the reality and objectivity of the real world through technology.In response,the balance between film narrative and spectacle should be emphasized on the one hand,and the balance between psychological aesthetics and sensory experience from film aesthetics on the other.