The Aesthetic Features Of Inner Mongolia Humanistic TV Documentary

Documentary is viewed as the description of the age spirit and the freshmemory of a country. It also carries the cultural value of human societyranging from a race to the whole world. Among all the documentaries, the TVdocumentaries are admired by people because of their precise art value. Thecreative level of humanistic TV documentary of China reaches the peek whenit came to the90s of20thcentury. The outcome of Sand and sea, The lastmountain god, The family in northern part of Tibet, The gone village and Thebackbone of dragger means the start of concentration on the mental world andthe opening the door to the world. Consequently, they were awarded with thedocumentary price of Asian association, in the International documentary filmfestival held in Japan and authentic film festival held in France.As a branch of China’s humanistic TV documentary, Inner Mongoliahumanistic TV documentary is showing the unique culture and the nationalspirit. It is endowed with important theoretical research value. Since1979,Inner Mongolia ’s first humanistic TV documentary Desert Sketches shot,results in a Prairie Sketches, Falconry Sketches, The last mountain god,Deer God ah our God deer, Golden Holy Mountain, Father tears, Thestory of BaoRao, Not finished sewing Mongolian robe, Down, CamelShame, winter and many other outstanding works, with its unique subjectmatter, diverse documentary approach profound implication theme, audiencefavorite, unanimously approved the industry to access to domestic andinternational awards.This paper will draw on the three levels of film aesthetics theory by thefamous French film theorist Jean Mitri，combined ethnology, cultural studies,anthropology, documentaries and other theories, using text reading method tograsp aesthetic features of Inner Mongolia humanistic TV documentaryoverall. Full-text consists of an introduction, Inner Mongolia humanistic TVdocumentary realistic beauty, narrative beauty, poetic beauty, and conclusion.The introduction introduces several concepts including TV documentaries (concept and classification), humanistic TV documentaries, Inner Mongoliahumanistic TV documentary and the brief overview of the Inner Mongoliahumanistic TV documentary and research framework of the papers.First, realistic beauty of Inner Mongolia humanistic TV documentary, isfrom the "real" nature of documentary, combined with the first layer of filmaesthetics Mitri theory-image reproduction function, and the paper mainlydiscussed the subjective reality and objective truth, the superficial truth andessential truth of the Inner Mongolia humanistic TV documentary realisticfeatures.Second, narrative beauty of Inner Mongolia humanistic TV documentary,is from the documentary narrative, combined with the second layer of filmaesthetics Mitri theory-the implication relations between images andNarrative theory. It is mainly from the way the story narrative, integratednarrative perspective, the diversity of narrative structure, discussing the plotof the narrative, skillfully set suspense, attention to detail using variousnarrative perspective combined with the use of surface and deep narrativestructure and other issues.Third, poetic beauty of Inner Mongolia humanistic TV documentary, isfrom the documentary artistry, combined with the third layer of filmaesthetics Mitri theory-the image modeling and other artistic effects toachieve the " poetic " expression, explores the creators of emotionalinvestment, the meaning of works expression and focuses on unique means ofartistic expression in Inner Mongolia humanistic TV documentary from threeaspects including the use of screen, the actual situation interaction and therelationship of sound and picture.At last, this paper simply discusses the limitations and shortcomings in thecreation of Inner Mongolia humanistic TV documentary. For it can providesome theoretical guidance and practical inspiration for the future prosperityand development of Inner Mongolia humanities television documentaries.