In addition to movies, there is also the influence of television. Regarding the connotation of television art, there is still no unified understanding in the theoretical circles. In the “Broadcasting and Television Dictionary”, there are two interpretations of television art in a narrow sense and a broad sense. In a narrow sense, TV art includes all art programs, such as TV dramas, TV songs, special cultural programs, TV dramas, and so on. The broad interpretation is that all TV programs contain a certain degree of artistry, so TV art refers to all TV programs in general.
As a new cultural form, it not only possesses a powerful television communication network system spreading across all corners of the society–collecting, processing, and producing all kinds of audio-visual information. And it also creates unique TV cultural products with its unique forms and means of expression. At the same time, with its audio-visual, lifelike performance, and free time and space communication effects, it has formed an unprecedented large receiving group.
With its excellent performance and means of communication, film and television culture can popularize culture most widely, have a broad and profound impact on human society, and cause major changes in the overall structure and proportion of social culture.
Film and television culture has a wide audience and can widely affect audiences at different levels, thus greatly changing the way of human cognition, improving human perception of new things, increasing the penetration of culture, and expanding the frame of reference of culture. To a large extent, it has broken the boundaries of countries, nations, and languages, and it is a cultural phenomenon with a worldwide character.
Development direction
Film and television art is a unique art form that humans grasp the world in an aesthetic way.
In addition to the political, economic, historical, and philosophical ways of grasping the world, why can human beings still need to grasp the world through aesthetic methods? Why do contemporary people still need to watch movies and TV art programs in the rich and diverse cultural life? The reason is simple, but it is also profound. That is why people are humans, but they are a kind of high-level rational and emotional animals that are different from other animals. They have a unique spiritual home that needs to be maintained.
Art is the carrier of human emotions. Only through the aesthetic approach to grasp the world, only through literary creation, appreciation and criticism, can we cultivate emotions, purify the soul, and sublimate the personality, thereby adhering to the sacred spiritual home of mankind, and promoting the free and comprehensive development of man and society.
As the former President of China Hu Jintao eloquently stated: “Art has always been an important field for cultivating people’s morals, expressing human ideals, enriching people’s artistic enjoyment, and promoting social development and progress.” Contemporary film and television art creation must insist on the prosperity of advanced culture. , To build a harmonious culture, to promote the free and comprehensive development of people and society, and to adhere to the “people-oriented” aesthetic ideal in line with the scientific development concept to determine its own development direction.
Word meaning discrimination
The first is the pleasure and beauty, seductiveness and nourishment of film and television art.
Film and television art creation is a human aesthetic activity. “Today, aesthetics is the foresight of modern society and the reshaping of people. Aesthetics is the critical inheritance or sublation of all cultural achievements in human history. It is the pursuit of eternity. In the era of information explosion, aesthetics is about balance. The desire for integrity and truth is the desire for a sound personality, the desire for a sense of moderation and good judgment.”
As for aesthetics, the art of film and television must of course give people the pleasure of seeing and hearing. Bypassing pleasure, that is preaching, not art, nor aesthetic. But it’s not only about pleasure, especially when it’s not only about the physical stimulation of the audiovisual senses, that is neither art nor aesthetic.
Real art, especially excellent art, should give the audience pleasure, and reach the soul through pleasure, so that the audience can obtain cognitive enlightenment, soul purification and spiritual sublimation on the basis of pleasure, that is, beauty is produced by pleasure. .
At this time, the human heart has obtained a kind of harmonious beauty due to aesthetics (this kind of harmonious beauty is sometimes presented as tranquility, sometimes as uplifting, sometimes sad, and sometimes joy). But nowadays there is a so-called “aesthetic proposition” that provides a theoretical basis for certain TV talent shows, low-level comedy TV shows, and “entertainment films” of the “killing sound, blood flow, fist and pillow, triangle chaotic love” category. “It is believed that history has entered the “post-modern”, and human art, especially film and television art, is to “produce happiness” and to use modern technology to create “audiovisual wonders” and give the audience the shock and excitement of the audiovisual senses.
Fueled by this “aesthetic proposition”, the technology that originally played a supporting role behind the scenes on the screen rushed to the forefront amidst the noise of creating “audiovisual wonders”, and became the protagonist and dominator with sound and light waves, making the charm, artistic conception and imagery. The souls of these Chinese art spirits have given way to the colorful and dazzling visual and sensual stimulation, and the art itself is shrinking.
While TV art has a vast territory (it can almost be associated with a long-standing and varied literary and artistic category to produce new TV art forms) and a broad audience, it has gradually lost its artistic personality and aesthetic advantages.
Television art programs (such as MTV and certain variety shows) increasingly focus on conquering the audience with sensory stimulation, and even go beyond the boundaries of artistic beauty, becoming increasingly vulgar and fast-food. The generalization, superficiality and kitschiness of TV “blockbuster”, “New Year’s film” and certain “entertainment films” in aesthetic pursuits, the decline of the humanistic spirit, the lack of historical rationality, and the collapse of the moral bottom line are also obvious. fact.
The crux of the problem lies in the harmonious grasp of the “degree” of pleasure and beauty, seductiveness and nourishment. In essence, it is a question of whether film and television arts can truly hold high the banner of aesthetics, and whether they can truly “lead the people’s spiritual life” in aesthetics, so as to truly represent the fundamental interests of improving the people’s spiritual quality.
Moderate is harmonious, pleasure enhances beauty, seductive and more seductive. Excessive is not harmonious, pleasure becomes catharsis, seductive becomes sad. Practice has repeatedly proved that the excessive pleasure of human physiological senses will inevitably cause deep pain in the spirit, and the uncontrolled perceptual stimulation will inevitably cause the imbalance of aesthetic psychology.
Along with the excessive enjoyment of the audience’s visual and auditory senses, their spiritual beauty and reflection ability will inevitably decline. The old saying goes: “Happiness is not in the outside, but in the heart. If the heart thinks that it is happy, then the realm is happy. The heart thinks that it is bitter, and there is no boundary and no bitterness.”
If the art of film and television blindly relies on technological means to create audiovisual wonders, promote sensuality or humor, then it can only stop at pleasure and seductiveness. It can only enjoy the outside but never enjoy it. The heart is happy for a lifetime, but the eyes are happy for a while. The beauty of film and television art is not to cater to the ups and downs, but to lead the audience and nourish people’s hearts.
Engels once talked about the mission of literature and art by referring to German folktale books. He said: “The mission of the folktale book is to enable a farmer to finish his arduous day labor and get happiness, excitement and comfort when he drags his tired body back in the evening, so that he can forget his own fatigue and take away his troubles. The barren fields turn into a depressed garden. The mission of the folktale book is to turn a craftsman’s workshop and a tired apprentice’s humble roof hut into a world of poetry and a palace of gold, and to turn his vigor and strength into a world of poetry and a golden palace. The lover described as a beautiful princess. But the folktale book also has this mission: to cultivate his sense of morality like the Bible, to make him recognize his power, his rights, and his freedom, to arouse his courage and arouse him. Love for the motherland.”
This is the mission of folk story books, as is the mission of contemporary film and television art. The people’s film and television art workers should have the people’s aesthetic ideals and expectations in mind, work hard, forge ahead, fully develop their intelligence and talents, and dedicate to the people beautiful masterpieces that are seductive and nourishing.
The second is the audience rating (attendance rate) and the audience quality (box office quality) of film and television arts.
This is also a sensitive issue where the art of film and television is directly related to the people. In the face of the market, it is reasonable for movies to value attendance and TV art to value ratings. Because no matter how excellent the film and television art works, if the audience is very small, its social benefits, economic benefits and even aesthetic effects will not be fully realized. However, nowadays, a “viewing rate (attendance) first” approach is popular, which is undesirable.
First of all, how to scientifically view and understand the ratings (attendance)? As far as I know, the ratings of TV programs are currently mainly counted by the two most popular professional organizations-Sofore and Nielsen. Probably due to differences in statistical methods and sampling ranges, the statistical results of the ratings of the same program are often different for the two companies.
Whose statistics are closer to reality? Is there a more scientific statistical method than these two companies? These are all suspicious. As for the box office attendance of movies, for some “blockbuster” and “New Year films”, I am afraid that it is not the ideological connotation, cultural taste and aesthetic value of the work itself, but the commercial marketing hype outside of art— -The use of “aestheticism” exaggerated advertising sensibility symbols and all-round bombardment of the media to swell the appetite of the public, tempting to enter the theater and change people’s normal aesthetic standards.
This fashionable and powerful hype concocts the virtual value of symbols, creating the symbolic hegemony of visual culture, and even manipulates the world of images, occupying the public’s vision, distorting cultural values, changing aesthetic stereotypes, and achieving the ultimate goal of grabbing commercial profits. Mr. Spielberg knows this very well. In his letter to the author, he pointed out: “If art is like a stock, it uses speculation to increase its value and falls into the market-oriented quagmire, that is the beginning of the decline of art.” Very impressed.
The importance of film and television art
Film and television image is the basis of film and television art, which refers to the visual image that is finally generated on the screen or video screen with the help of material materials such as photosensitive film (or tape, disk, CD), using photography or videography, and projection or projection. .
Film and television images are generated by a beam of distinguishable light projected on the plane of a two-dimensional space with obvious marginality, and generated by the audience’s visual cognition at a certain cultural, intellectual and aesthetic level.
Movie images are imaged by projection of light, and its imaging does not depend on the screen, but on the use of the camera lens. In other words, the film and television images are actually determined by the lens. It can be seen that how the lens is used directly determines the creation of film and television images.
In addition to images, sound also occupies a very important position in film and television. Sound enters the movie, making the movie closer to the reality of life and more like reality. However, the sound concept of early movies, whether it is the sound counterpoint proposed by Eisenstein and others, or the Hollywood theatrical film, did not pay attention to the recording role of sound. Film and television sound includes dialogue, commentary, film music, etc. Dialogue refers to the lines between characters in the film and television screen. Film and television dialogue can explain the relationship between the characters, the background of the event, narrate the plot of the story, portray the character of the character and express the inner world of the character.
Commentary is the description, evaluation and explanation of the event or character by the creator in non-narrative time and space. All sounds except for human voice and music in film and television, as well as human voice and music in the form of background sound or environmental sound are collectively referred to as sound. Film and television sound is good for digging into the characters’ hearts, can advance the plot, show the environment, deepen the theme, and can also have a certain symbolic meaning.