On The Study Of The Influence Of Digital Technology To Art Of Movie

Since the digital technology was first used in movies in late 1960s, it has greatly influenced the producing, spreading, acceptance and other aspects of movies. This thesis is intended to analyze how the digital technology influences the acceptance of movies in the context of visual culture transformation and new characteristics of texts, and basing on this, raise my own point on study of movie itself when the digital technology has been widely used in it.Firstly, the use of digital technology in movies has greatly changed the texts. The enrichment and development of movie types, the weakening and strengthening of narration in scripts typically represents the changes. The producer's imagination has been totally liberated from the limit of technology. Science fictions, disaster scenes and three-dimensional cartoons become an important object of texts. The science fiction movie stabilizes its position in mainstream movies, and a new movie type梩he disaster movie begins to come into being, and the cartoon becomes a mainstream movie. The Internet technology makes the net-movie into reality. The narrative styles also change a lot. On the one hand, stories begin to lose importance in Hollywood blockbuster with digital technologies. On the other hand, these movies keep extending the time and space, including widening and self-backing of narrating time, and the super-realism in narrating space. All these strengthen the narration in a way. However, the ordinary movies on television, video and Internet still attract the audience by way of telling stories.Secondly, the swift development of digital technologies has made the audience's initiative develop hi two opposite ways, becoming more active or more passive. The popularization of visual-culture has greatly changed the aesthetics style of movies and aesthetic psychology of the audiences. In a movie theater with large screen and multi-track stereo, the audiences associate with the movie instead of just "watching" it, and develop an "immersive" style of aesthetic psychology.This way the audiences' initiative is reduced. On the other hand, while watching movies by ways of VCD or DVD domestic theatre systems, digital video ordering and net-movie, the audiences can watch any part of them like reading a novel, restructure the scenes, or directly change the narrating structure of movies. In this sense, the audiences' initiative is strengthened.Finally, considering the reality of changes in movie producing and acceptance, and absorbing reasonable factors of traditional photograph ontology on movies, we raise the video ontology that emphasizes the sense of trueness of the audiences. The fact that flexible imaging methods have greatly enriched the images makes them main concern of ours. The literary theory has transferred from the text to the audience in the 20th century, and this coincides with highlighting of audiences in the practice of movie producing and acceptance. So on the one hand, the movie's character as a complex audiovisual art will be more outstanding; on the other hand, the artistic trueness is not judged by true reproduction of space and time any more, but sense of trueness of the audience. In the theoretical dimensions of movie and audience, and with the reality of movies, we advocate to establish a video ontology on movies, which emphasizes the sense of trueness of the audiences.