On The Relationship Between Emotion And "Expressing Meaning With Image" And Its Acceptance

As the important media of cultural communication, the communicational efficiency of the arts of film and TV depends, to a great extent, on the productions' charm and the audience's emotional response when they enjoyed them. As far as the film and TV themselves are concerned, it also is the problem which is worth attaching importance to and studying during the development process of film and TV industry. Taking emotion as a clue and using modern psychology and Psychology of Emotion for reference, beginning from the subject of creation, subject of acceptance and actor/role, to discuss and study the disciplines of emotion between the expressing meaning with image and acceptance will be helpful to explain all these phenomena effectively, because these disciplines affect and restrict the inherent laws of the active interaction between film and TV productions and the audience.Expressing meaning with image is the core of film and TV productions' visual expression. Expressing meaning with image consciously is the important symbol of human's shaking off barbarism and entering into civilization, as means the infusion of human's feeling and the psychological foundation of modern expressing meaning with image. Expressing meaning isn't the isolated factor, it based on the inherent principle of active interaction between film and TV productions and the audience. Genre Film is the typical style of this kind of interaction relationship. The formation and development of Genre Film are the outcome of keeping an eye on the audience's habits of film-watching for a long time. Different genres of film and TV productions functions according to the different aspects of audience's emotion.The mental sensation from the inner experience of emotion is the most important mental mutative factor during the course of creating and accepting the images. In aesthetic activities, image activates audiences' nerve actuation, thus bringing the change of nerve system. The outcome of this change is emotion. When emotion is connected with cognition-association, imagination or individual sign-perception, the experience of aesthetic acceptance come into being with it. The emotional reaction decides on the strength of experience and restricts the entangled state of emotion. At the same time, the sensation of experience reacts on the image itself, and even controls people's evaluation and attitude towards the image. This attitude is negative refusal or active acceptance. In addition, acted by the excitated function of emotion, the creator's emotional experience inevitably become the motive power for the creation. To a certain extent, the sensation and the evaluation cannot but show themselves in the productions. When the creator expresses himself with visual plastic factors, narrates with plots and figures the roles, the emotional expression emerges. On the other hand, the emotional system of expressing feelings bears the weight of actor's impersonate role-figuring. The emotional action reflects the actor's cognition and attitude. In the mutual relation of expressing feeling activities and the other visual plastic factors, the emotional experience of roles are presented. Besides, with modern digital technology, the image surpassed the visual cognition experiences, and audience' experience stemmed from images breaks through the bondage of realistic space-time. The acceptor's identification with virtual digital role stems from the inner soul which the role was endued with by the creator, and is presented via the expressing feeling activities which took on the character of life.