A Study On The Image Ontology Of Nanjing Massacre Documentary

December 13,1937,when the Chinese capital of Nanjing was forcibly occupied by the Japanese.For the next few six weeks,there was a terrible catastrophe in the walls of this ancient city that shocked the world.The former bustling city of Nanjing everywhere broken wall,once bustling hutong alleys across the body all over,blood,this scene of the scene is not only reflected in the eyes of the Chinese people,but also the pain in the hearts of men.Over the years,there has been an endless stream of theoretical research and artistic creation on the Nanjing Massacre,and documentary,as a form of expression that integrates authenticity and audiovisual art,has become an important way for the mass media to disseminate the truth of this historical event and express the attitude of history.Since the filming of "Nanjing Massacre" in Gao Zhongming and Liu Yufeng in 1982,a number of documentaries on the subject of Nanjing Massacre have been filmed at home and abroad,showing different interpretations and attitudes of the Nanjing massacre in different periods and countries,and constructing people’s collective memory of the Holocaust.Taking the documentary of Nanjing Massacre as the research object,combining with the theories of acceptance aesthetics and film narratology,this paper studies the narrative technique,audio-visual language,use and organization of the documentary of the Nanjing Holocaust subject from the image ontology,Summed up the change of the creative concept of the documentary on the subject of Nanjing massacre filmed at home and abroad from 1982 to 2016.It also compares with the documentary films of Nanjing Massacre created by foreign countries,perfects the systematic research on the documentary of Nanjing Massacre subject in the academic circles,and summarizes the way to create the documentary of Nanjing Massacre on the theme of our country.