The Ontology Research On Cinematographic Idea

The idea of cinema is the concept of using all visual and audible elements to do image expression at the sensorial level or narrative expression at the cognitive level.There are two traditional aesthetics ways of understanding the expression of cinematographic idea,intuition and conceptual.The former is relate to movement-image&time-image which is created by Deleuze.It is perceptual characteristics of image itself.The latter belongs to the level of "information" in semiotics.It is the transformation from visual image to readable image and also related to narrative information.This paper holds that cinematographic idea is a problem consciousness rather than a theory or concept.It’s a way of questioning the film or cinema.So that we can better understand it and the relationship between us and cinema.As an art,film should have a unique way of expression and internal regularity.The author believes that the discussion on this issue runs through various theories.But It’s not mean to "synthesize" the differences between different theoretical factions such as grand theory and middle-level research in the sense of Badio.Diversified theoretical methods have carried out long-term argumentation and refutation around this central topic from their respective positions,that is,they give different solutions to the same problem from different paths.This paper hopes to find the way to understand this art through the dialogue between theories.In the first chapter,I focus on the various definitions of images in early classical theories and criticism,from which I can explore the profound relationship between people’s ideas of images at that time and future generations.The second chapter begins to formulate three main expressive materials according to the characteristics of images,which are the basic or original materials for the emergence of cinematographic ideas.It includes three main types of content,such as all kinds of materials of the impure visible world,the image itself that gives the object visualization ability,and the "a priori" frame that defines the material and image form.The third chapter focuses on various forms of cinematographic idea.This is the exploration of different theories on the stylization of film ideography.It involves not only a general syntax,but also a fragmented middle-level research.At the same time,it also includes the expression characteristics of images and their internal relationship with "poetic" thinking.The latter two are the core level of the concept of Filmization.This paper does not intend to build a grand theory,but stands on the previous "imagination" of the film and looks for a possible plan according to various clues.This plan starts with how the film conveys ideas,and finally presents this special ability of the film.They are different in each theory,the style of the film is also different.However,it is not so much an irreconcilable contradiction and opposition that they demonstrate the same problem from different aspects,so as to make the cinematographic idea more clearly presented.