Research On The Aesthetic Value Of Grotesque And Movies Grotesque Image

In1957, the German criticizer, Kayser Wolfgang redefined and enriched Grotesque as a term that has existed for thousands of years in his book The Grotesque in Art and Literature as a dedicated writing researching on Grotesque, and ever since the Grotesque had become an independent area in which estheticians carry out researches. Grotesque, from an aesthetic perspective, is often a combination of hideous and comical elements presented in extremely abnormal ways and compositions, perceived to result in fearful and laughable acceptance reaction at the same time. Movie and teleplay, as one of the most popular type of art, has become the most active, technically advanced and influential one that not only renders the Grotesque figures and stories from the traditional literature in a realistic way, but also leverages photo montage methods unique for itself, to provide lively images and voices for the figures and further makes the grotesque effects unparallel in novels, drama, paintings and other types of art, and eventually provides exceptionally freedom for the creators. This article tries to carry out in-depth discussion about the value of grotesque figures in creation and works in movie and teleplay.This article is comprised of3parts. The1st part introduces and discusses the scope of grotesque, grotesque phenomenon and grotesque in art, and then recaps the content of grotesque thinking, and at last dissected multiple cognitive significance of grotesque. It presents the diversity and complicity of grotesque by analyzing different types of grotesque figures, and then discusses the special role of grotesque figures in artistic creation, and at the same time tries to declare that, the grotesque figures created by the artist by distorting, disassembling and reconstructing, can bring about completely different aesthetic experiences. As the most widely welcomed type of art, movie and teleplay are providing more intuitive presentations and therefore gives extremely freedom for creation of grotesque figures. The2nd part tries to discuss specifically the grotesque figures in movie and teleplay creation as well as in the works, and from movie and teleplay perspective, comprehensively and systematically analyzed the special compound characteristics caused by multiple layers of ideographic generation. Acceptance patterns of the screen figures are derived from the special features of movie and teleplay, and then helped organizing the5fundamental types of grotesque figures. It is then compared against4other types of basic aesthetic patterns including elegant, comic, noble and tragedy, to further demonstrate its essence.The3rd part summarizes the aesthetic value of grotesque figures, by analyzing the aesthetic experiences of grotesque figures in movie and teleplay works, in combination with the aesthetic process and characteristics of movie and teleplay as a type of art itself. Eventually the focus is set on the understandings of the relationships between grotesque figures and lay culture and vulgar culture, diversification and unification of aesthetics and connections between daily experience and grotesque. It is believed that only after being treated correctly, can movie and teleplay and grotesque play their roles given.