Humanities Documentary Aesthetic Changes Of Belief

By means of "Ritual Thinking" perspective, this paper is intended to analyze aesthetic revolution between political and life beliefs in Chinese humanity documentaries in the new period from "ritual transition". The "structure" mode focused on power declaration and the "integration" mode centered on long life, interact in humanity documentaries, in which liberal arts are produced. The general belief rituals performances are characterized with transitions from political belief to interaction of both, eventual to the dominant integration state of long life belief.This paper is based on the "diffused" characteristics of Chinese religion by C. K. Yang and "separation-marge-integration" theory by Arnold van Gennep; meanwhile the paper makes use of three types of arts "in aesthetics" mentioned by Hegel. The aesthetic genre of Chinese humanity documentary belongs to symbolic arts from1978-1992, in which belief rites are mainly to solidify public worship based on politic belief."The harmony between man and nature" aesthetic paradigm corresponds to the land worship. From the beginning of the90’s to the commencement of the new century, the genre of Chinese documentary is characterized with classic arts, in which interaction of public worship and private belief expands the private space "family". Modern ethic society and private life belief are derived from traditional "ancestor worship"; the modern kernel of land worship in Chinese documentaries controlled by state tends to be "world view", whereas the "God worship" extend to "revolution worship". Since the beginning of the new century, the humanity documentary is characterized with romantic art period. The aesthetic subjects ignore the occasional reality to obtain reconciliation of themselves and notion by means of interviewing techniques. The power declaration rites in public worship make transition to personal survival rites, by which rituals enter into "integration" period. Chinese humanity documentaries play an important role to breaking the rigid social structure, and restoring vitality of the people.This paper is divided into six chapters. The first chapter points out that the background of Chinese belief is secular power and authority worship based on The God and ancestor worship, by making research concerning primitive religious belief. The second chapter discusses the Chinese political ritual presentation in symbolic documentaries. The consequent3rd and4th chapters center on classic documentary:focused on the extension of private belief and enhancement of life rites, the3rd chapter discusses arts performance of separation rites. The4th chapter emphasizes public worship in transition rites. The5th and6th chapters reflect on the evolution of public worship and private belief:the5th chapter discusses philosophical foundation of "Direct Cinema", whereas the6th chapter makes research on the vitality of "integration" rites by "spirit reconciliation" in terms of "Truth Cinema". It comes to the conclusion that there are opposition between public worship and personal belief, conflict between structure and integration modes."structure" sets different level as dominant power, and "integration" modes can restore subject vitality, and ultimately they enter into a "battlefield" for the hegemony of culture.