The Origin And Composition Of "Dialogue"

According to Karl-Otto Apel,’the philosophy of the twentieth century is focused on language’.As the primary carrier of ’meaning’,language connects ontological and epistemological issues,and through expression,which brings abstract experiences from a restricted and closed state into a fluid and open one.Language is no longer just a disciplinary issue,but a force that influences the construction of social and cultural consciousness and leaves traces of ’expression’.Through thought is an intermediary,language mediates the construction of knowledge and shapes human communities and societies.Dialogue-driven films,categorized by the use of dialogue as the main content and expression as the primary means,rely on conversation to advance all plots.Dialogue-driven films also have unique artistic features,with distinctive characteristics in content selection,camera treatment,and other aspects,while also being influenced by various factors such as ideology and aesthetic values.As one of the trends in film creation,this is closely related to the’dialogue film’ advocated by local film enthusiasts,which has its own structural characteristics and narrative strategies,as well as its own contemporary features.In different contexts,dialogue-driven films also have their own discourse characteristics.Dividing film texts by structure,referring to films where dialogue is the main content and expression is the primary means,and films that use dialogue to advance the plot,language and dialogue each have their own structural characteristics and narrative strategies in terms of time or self.In terms of the film plot,dialogue-driven films mostly start with an event that triggers conversations between characters,and then expand the discussion from the event itself to a higher and broader dimension.The film places the relationship between characters in a specific reference system,and the contextual environment for dialogue between characters is equal,with no crossing or barriers between classes or social strata.The general focus is on individual life reflections,with a unified ’concept’.Today,film studies are also undergoing an important shift,and the consideration of film technology and media is gradually received attention from the academic community.Research on film narrative is beginning to place the film as a whole in the framework of cross-media and high-tech narratives,but ignoring the elements of the film itself.For film festivals,there is a lack of analysis of the details and classification of film festival exhibitions,and the frequency,location,and awards of film festival exhibitions are inconsistent,mainly based on age,gender,and region to categorize film festivals.Therefore,this curatorial approach,starting from a creative perspective,is also a new exploration of the development of film festivals for films beyond the pursuit of technical use,visual effects,and narrative methods.In recent years,dialogue-driven films have also been practiced or attempted by us as film creators,so a deeper understanding of dialogue-driven films is more conducive to the interpretation of the film environment and better serves contemporary creation.