Historical And Humanistic Feature Film Based On Semiotic Theory On The Creation Of The Soul Of Dayu·Huaihe River

The experimental broadcasting of Beijing TV station in 1958 marked the birth of China’s TV industry,and then TV culture played a more and more important role in the dissemination and promotion of Chinese culture.At the same time,historical and humanistic feature films have gradually stepped onto the stage of Chinese film and television,and become an indispensable and important part of TV feature films.They carry professional functions such as telling history and inheriting culture,and more intuitively,three-dimensional and in-depth meet the audience’s TV art needs in the field of history and humanities.At present,most academics believe that the history of Chinese dynasties began in the Xia Dynasty,but among the works created in the film industry around this period,there are not yet many feature films about Dayu,the founding monarch of the Xia Dynasty,and the works created on the theme of history and humanities have not yet taken shape.Excellent historical and humanistic feature films can build bridges between viewers and their historical and cultural identity by sorting out the historical context,finding the truth about cultural heritage,portraying historical changes in detail on camera,and telling historical and cultural stories through intuitive film and television,so that high-quality content can serve the viewer well,which is the core of television feature film creation.The culture of Dayu,as a representative of excellent traditional culture,is a typical example of the national cultural lineage that can be explored and studied in depth.This article explores the creation mode of historical humanities feature films and analyzes it in detail in the context of the graduation work "The Soul of Dayu-Love of Huai River".The article consists of an introduction,three related chapters,and concluding remarks in five parts.The introductory section is based on the background of historical and humanistic themes,pointing out the feasibility of studying historical human feature films from a semiotic perspective and indicating the significance of constructing a semiotic system for this type of video.In the first chapter,from the semiotic point of view,the micro-theory of semiotics and film semiotics is combined with Roland Barthes’ and Christian Metz’s "secondary semiotic system" to elaborate.The author believes that,as part of film and television art,historical and humanistic feature films present a variety of regular symbols,and these symbols are coded through layers of the main content to complete the deep-level implicit meaning transmission.Therefore,how can the formation of symbols in historical and humanistic feature films highlight the type of TV feature films?How can typical symbols generate meaning? How to give play to the symbols’ more functions? This is the focus of the research deconstruction in this paper.Chapter 2 starts from the creation of the historical humanities feature film "The Soul of Dayu-Love of Huaihe" and divides the feature film into two hierarchical systems.Firstly,we sort out and categorize the video symbols of the historical humanities feature film,analyze the visual symbols,sound symbols,and textual symbols of the film and television content in the first-level meaning system,and then delve into the symbolic coding of the video to find the main meaning of the creation of the historical humanities feature film and explore the deeper symbolic meaning in the second-level system.The third chapter analyzes the creative thinking around the graduation work,examines the innovative ways of film and television in the work and discusses the shortcomings and regrets of creation.Finally,the article is summarized,focusing on reflecting on the application of semiotics.