Research On The Video Expression Of "Intangible Cultural Heritage" Documentary Under The Perspective Of Acceptance Aesthetics

As the "living fossil" of the Chinese nation,the intangible cultural heritage retains the crystallization of the wisdom of various ethnic groups,constructs a splendid Chinese cultural memory,and plays an important role in the long history and culture of human reproduction from generation to generation.With the development of social development and the advent of the digital era,the living space of intangible cultural heritage is constantly squeezed and faced with multiple inheritance crises.As a new way to protect the intangible cultural heritage,the "intangible cultural heritage" documentary,bearing the value of the intangible cultural heritage,quickly triggers the upsurge of "intangible cultural heritage" with its true record and extremely high aesthetic appreciation.While the public understands the intangible cultural heritage through the "intangible cultural heritage" documentary,the audience’s acceptance and aesthetic appreciation also begin to influence the expression of the intangible cultural heritage images.While analyzing the video text,it is also very important to accept and analyze the audience.Only by combining the audience with the works,and examining the interaction between the two,can we further understand the development and change of the "intangible cultural heritage" images.This paper takes the acceptance of aesthetics as the theoretical basis,takes the "intangible cultural heritage" documentary as the research object,through the literature research method,case analysis method,field investigation method and other research methods,plus the author and the creation practice of his graduation works.The main content of the paper is divided into four chapters,specifically as follows:In the first chapter,by combing the relevant concept content,classification and development status of intangible cultural heritage and "intangible cultural heritage" documentary,explaining the internal reasons of the "intangible cultural heritage fever" phenomenon in the field of documentary in recent years;Chapter 2 starts from the—— "call structure",one of the important concepts in receptive aesthetic theory,Combined with many excellent "intangible cultural heritage" documentaries,To analyze exactly how the "blank" and "negative" can set up the call structure,Call on the audience to participate in the completion of the work;The third chapter starts from the theory of "expectant vision",To analyze the transcendence and fusion changes of "character expectation","formal expectation" and "emotional expectation" in the "intangible Cultural Heritage" documentary,Discuss the influence of the audience’s aesthetic acceptance on the documentary images;The fourth chapter combines the graduation work "Grandpa’s Mukam",and analyzes the intangible cultural heritage documentary from the level of audio-visual language,including "regional" space display,"story" character group images and "original ecological" auditory spectacle.Through theoretical research and shooting practice,this paper aims to analyze the video expression of intangible cultural heritage documentaries from the perspective of accepting aesthetics,in order to contribute to the research and video creation of "intangible cultural heritage" documentaries.