Abstract
Digital film technology has constantly transformed and enhanced the fundamental aesthetic elements in the traditional aesthetic categories of film aesthetics during its gradual penetration into the film art system, enabling these fundamental aesthetic elements to take on new forms and appearances that enrich the artistic communication of film and mark This is a sign of artistic advancement. The fusion of old and new technologies in synergy with the original film system has also accelerated the development of digital film technology as an aesthetic model, and in adapting to the original film art system, digital film aesthetics has produced aesthetic implications that transcend the original system, in terms of virtual images, spatial and temporal concepts, narrative modes, sound and picture relationships, and movement characters. They all exhibit new aesthetic characteristics that are distinct from traditional film aesthetics in terms of virtual images, spatial and temporal concepts, narrative modes, sound and image relationships, movement characteristics, and interactive methods. When one examines existing discussions on digital cinema in China and globally, it is easy to see that they primarily focus on expanding the audiovisual expression of images and on the study of the expressive power and image effects of digital special effects, while research on expanding film concepts and expanding film aesthetics is superficial, or even nonexistent. From a film aesthetics standpoint from the standpoint of film aesthetics, as digital technology has gradually displaced traditional modes of film production and concepts, audience viewing styles, and human aesthetic concepts, the aesthetics of digital film under the new digital technology can be a new construction in terms of time and space, reality, narrative techniques, virtual reality, and aesthetic acceptance. Based on established film theories and aesthetic notions, this study will seek to develop film aesthetics in the digital era, highlighting the study's uniqueness and systemic character in light of shifting aesthetic categories and the incorporation of new aspects in digital cinema.
Highlights
When a new art form is created, determining its artistry is always a contentious issue
With the release of films such as "The Matrix," "Lola rennt," "Harry Potter," and "The Hobbit," people are exposed to the fast-paced virtual time and space changes and aesthetic breakthrough of the transcendental world, and new aesthetic forms such as "virtual aesthetics," "digital aesthetics," and "techno-aesthetics" are being advanced as distinct aesthetic concepts in the digital age
Marc Furstenau (2003) argues in his dissertation that digital technology has created a conflict between structuralism and film semiotics in the study of cinema's ontology, causing scholars to question the authenticity of digital images and to be more interested in the relationship between reality and images than in the logical correlation between images in the representation of reality and images
Summary
When a new art form is created, determining its artistry is always a contentious issue. Alistair Swale (2015) attempts to discuss the aesthetics of animation in the context of digital cinema in his paper He focuses on the essential qualities of the visual representation or experiential experience of the moving image in the 'postphotographic' or 'post-cinema' era, overcoming the paradoxes inherent in digital film studies in order to explore the accepted expressions and aesthetic meanings of contemporary cinema through the use of virtual reality. It examines how cinema's language has resulted in the screen's transformation from a 'window' to a 'portal,' trying to emphasize the shift in perceptions of narrative conventions, character psychology, and aesthetic reception. It will examine the new aesthetic characteristics of digital cinema in terms of virtual images, spatio-temporal concepts, narrative modes, sound and image relationships, movement characteristics, and interactive methods: the richness of virtual images, the conceptualization of digital situations, the versatility of mimetic styles, and the experiential nature of physical touch are all used to investigate the mimetic nature of virtual images; the transcendence of virtual space, the digital transformation of simultaneous arrays of time, long shots, and montages
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