The Contemporary Construction Of Digital Technology Film Aesthetics

The development of digital mode from creation to projection and the change of digital film language indicate that digital film once again breaks through the barrier of film technology and opens a new era of digital film art.From the aesthetic point of view,the subversion of digital film’s image generation attribute dispels some theoretical essentials and important concepts of traditional film aesthetics’ s ontology.The generation principle,audio-visual environment and media attribute of digital film affect the film art creation and audience’s aesthetic style.Digital reproduction and regeneration can realistically simulate reality and transcend reality to construct the story world in the movie,and form a higher level aesthetic composition and aesthetic concept.The emergence of media or the transparency of digital movie machine enables the audience to carry out physical experience in a super-close or non-close distance,thus falling into "this immersion" and "playable story".The audience’s aesthetic consciousness and subjective initiative have been improved unprecedentedly.The film phenomenon experience of digital simulacrum,and immersive viewing mode of multimedia video perfectly realize the freedom and transcendence of digital film’s aesthetic experience,and become an important force to promote the development and evolution of film aesthetics.The paper aims to explore the relationship between the development of digital film technology and the discourse of film aesthetics,to sort out its aesthetic connotation and characteristics,and explain the film concept and aesthetic problems.Then we can try to complete the systematic construction of digital film aesthetics in the simulation era,and that is,the original intention of this paper.This paper consists of three parts: introduction,main body and conclusion.The main body is divided into four chapters.The introduction mainly includes the origin of digital film aesthetics research,literature review,basic ideas,key points and difficulties,research methods and the value and significance of this study.The first chapter starts with the change from traditional lens to digital simulacrum,discusses the generative context of digital film aesthetics,and briefly explains the current situation of film technology in the integrated development of modern digital film industry,including the technical force from creation to projection of digital film,as well as the development and change of interactive broadcast mode of digital cinema and new media.On this basis,it discusses the deconstruction and the breakthrough of traditional film aesthetics by digital film,and clarifies the foothold of digital film aesthetics.The second chapter analyzes the new aesthetic characteristics of digital film which are different from traditional film aesthetics in virtual image,space-time concept,narrative mode,sound and painting relationship,movement characteristics,interactive mode.Firstly,it discusses the pseudo reality of virtual image from the richness of virtual image,the conception of digital situation,the variety of virtual image style and the experience of body touch.Secondly,it discusses the dominance and artistic tension of virtual space-time composite reality from the expansion and transcendence of digital space-time.Thirdly,it discusses the spectacle narrative in the digital era from the riddle narrative of nonlinear fragments,the scattered narrative of simultaneous arrays,the visual narrative of massive data and the game narrative of guided roaming.Fourthly,it discusses the extension and aesthetic pursuit of the relationship between digital sound and image from the accurate spatial image positioning and three-dimensional performance after the intervention ofdigital surround sound.Fifthly,it discusses the creation of artistic conception and the limit of excessive movement from the smooth and extraordinary movement performance of various digital movements.Sixth,it discusses the performance of interactive narration enhances the subjectivity of film,audience,media and creators in an all-round way,which forms the inter subjectivity of digital film and aesthetic subject.The third chapter completes the construction of digital film’s simulacrum aesthetics from four aspects: the real concept of digital simulacrum,the compound rhetoric of digital spectacle,the aesthetic proposition of virtual realism,the subjective experience of interactive narrative.Firstly,it expounds the real aesthetics from the diversity of digital simulacrum,the transcendence of digital reproduction and the richness of perceived reality.Secondly,it discusses the spectacle expressive power of digital compound rhetoric from the creation of digital spectacle by digital events generated by synthesis and modeling,and then to discuss the esthetic function of spectacle narrative through digital events’ compound series and the care of the esthetic expression of spectacle type movie breaking the movie genre.Thirdly,it discusses the meaning generation of digital simulacrum from the rich images of the contemporary new aesthetic,expounds the logic of virtual reality,and constructs the artistic expression and aesthetic pursuit of virtual realism by using the possible world narratology and "question-answer" logic.Fourthly,from the perspective of the integration of interactivity and narrative,it discusses the aesthetic implication in interactive narrative and the inter subjectivity between film and audience after various media appear as digital film machines.The fourth chapter discusses the changes of aesthetic psychology,the freedom and transcendence of aesthetic experience,and the identification problems from the perspective of audience acceptance.Firstly,it analyzes the changes of aesthetic psychology of aesthetic subject.That is,the changes of visual psychology from "contemplation" to "on-the-spot immersion",deep psychology from "Daydream interpretation" to "intention construction",and acceptance psychology from "orientation expectation" to "Innovation vision".Then it discusses the audience’s aesthetic experience of digital simulacrum in detail.That is,aesthetic freedom and transcendence obtained from the concrete satisfaction of experiencing digital reality,the on-site immersion of digital spectacle,the empathic identification of virtual reality,and the participatory experience of interactive narrative.Finally,the paper analyzes the identity of digital aesthetics,which reflects the identity lost way towards nihility,rational passivation and visual bias from the virtual reality,the origin of spectacles and the paradox of immersion in digital films.From the perspective of the research object and discussion mode of this paper,this research is committed to seeking the breakthrough and progression of digital film aesthetics in comparison with traditional film aesthetics.Through the case analysis of digital film practice,it combs and condenses the aesthetic characteristics and makes bold prediction and inference.It appeals to a variety of aesthetic theories and artistic criticism to review the aesthetic principles and artistic forms of digital films in the context of new technology development and media innovation,so as to complete the construction of digital film aesthetics,and expounds the aesthetic significance of the audience in the free aesthetic experience of digital film.