Audiovisual presentation starting from "National Treasure" (optical film and television industry)
Core reading
Focusing on national treasures, following the acceptance habits of young audiences and the trend of popular culture, designing a complete set of audiovisual performance methods and narrative methods is a common point in its audiovisual creativity.
When the ancient cultural heritage meets modern audiovisual media, what kind of chemical reaction will happen?
In recent years, several documentaries and TV programs that use "national treasures" as IP have given answers. On June 13th, "Culture and Natural Heritage Day", the third season of "If National Treasure Talks" started, 25 rare national treasures from 18 museums ignited the audience's enthusiasm for viewing and became a hot topic in the near future. In the second half of this year, the two-season variety show "National Treasure" will be successfully broadcast, and a new season will be launched. The museum and the guardian will continue to tell the story of the national treasure. In the past few years, the popular documentary "I am repairing cultural relics in the Forbidden City" on the Internet combines ancient cultural relics with contemporary inheritance of handicraft skills, and works such as "Great Craftsman" have brought the artisan spirit into contemporary vision.
Bring the audience closer to the national treasure
History and culture have always been the subject of mass media enthusiasm. For a long time, TV programs such as "Exploration and Discovery" and "Archaeology China" have spread historical knowledge through cultural relics stories and played the scientific and educational functions of mass media. In recent years, the country's emphasis on the cultural and cultural undertakings and cultural tourism industry, the free opening and innovation of museums, the popularization of academic achievements, and the public's enthusiasm for traditional culture are the cultural soil and creative motivation for this type of TV program innovation. In this context, programs such as "National Treasure" and "If the National Treasure Talks" have widely absorbed new achievements in media technology and cultural concepts, which has become an important phenomenon in my country's cultural field.
Focusing on national treasures, following the acceptance habits of young audiences and the trend of popular culture, designing a set of audiovisual performance methods and narrative methods is their commonality in creativity. "If the National Treasure Can Talk" and "Great Artisan" follow the online audiovisual trends, in a short period of a few minutes to a dozen minutes, they adopt exquisite audiovisual language and contemporary fashion stories to make the cultural relics "live". "Fire up". A large number of close-up shots with a shallow depth of field and special shooting lenses bring a picture quality comparable to that of a movie and constitute a spectacle of viewing. In "I am repairing cultural relics in the Forbidden City" and "Great Craftsman", there are a lot of close-up shots showing the changes in objects such as wood, bamboo and other manual craftsmanship. The deeper role of spectacle lies in shaping the cultural relics as the objects of audience psychological identification. The lens and camera build a psychological bridge between the cultural relics and the audience, thereby narrowing the space-time distance and psychological relationship between the audience and the cultural relics, and historical culture. "If the National Treasure Can Talk" constructs the first person and subject perspective for "cultural relics" by means of commentary and other means, empathizes with dictation, and guides the audience to develop aesthetic appreciation of the cultural relics.
The face of the national treasure is presented as vivid and vivid. In the third season of "If the National Treasure Can Talk", Wang Xizhi's "Lanting Preface" is presented in a simple and chic style. The entire video reproduces its stroke-by-stroke writing process, inspiring viewers to imagine the historical situation and the time when it was written. The elegance of the times. "National Treasure" adopts comprehensive artistic methods, studio stage performances and live-action documentary photography echo the coordination, different guests and characters participate together, plus rich acousto-optic technology and interviews with the host, etc., fully show the moment when the national treasure is discovered , The hardships experienced over the years, and the status of current research on the protection of cultural relics.
New perspective on history
Excellent video works guide the audience to obtain new experience and cognition through the creation of virtual time and space. While providing audio-visual enjoyment, historical film and television works provide audiences with historical cognition channels, help them form a deep sense of the past, correct evaluation, and common beliefs, and play a role in building consensus.
Starting from the national treasure, these audiovisual works provide a new perspective on history. Programs such as "I am repairing cultural relics in the Forbidden City" use specific cultural relics as clues, and are not limited to cultural relics. Instead, they focus on "writing people with objects" and "observing objects with people", depicting the spiritual world of the era in which objects are located. Craftsmen are not only the inheritors of contemporary craftsmanship, but also one of thousands of craftsmen in the long history. It is these ordinary and dedicated individuals who use their life practices to build the national treasure and the history of the country. In this way, guide contemporary audiences to collide with traditional culture, guide their emotional participation, and expand their historical horizons. Although all historical works have the function of popularizing education, only excellent works that conform to the acceptance and aesthetic laws of contemporary audiences can truly open the door to historical cognition for the audience. National treasure-themed movies and TV shows are like museums on the screen, which makes the audience linger.
Provide soil for emotional projection
Globally, the rapid economic growth is often accompanied by increased cultural demand, and the popularity of national treasure shows reflects the general demand of Chinese audiences. Regardless of national treasure or skill, they show the relationship between people and nature, people and grass, trees and rivers in Chinese culture.
"I am repairing cultural relics in the Forbidden City" portrays craftsmen as a concrete state of life and philosophy of life. People and objects are carved around each other to help people reconfirm and appreciate the value of daily life and ordinary occupations. "National Treasure" and "If the National Treasure Talks", through the national treasure "Guardian" and the national treasure "Self-report", strengthen individual perception and personal perspective, and provide people with emotional projection soil.
These shows not only explain the problem of where China comes from, but also put forward thinking about where China will go. In the national treasure story, we see the height that civilization once reached, the path of pushing ourselves and the integration of people and civilization, and the contemporary transformation of national spirit and traditional culture.
In the future, how to maintain the quality and standard of audiovisual works and further explain the positive value of cultural heritage in promoting social development is the key to its long-term viability. Continue to promote a rigorous and serious creative attitude, strengthen the cooperation of the creative team with experts and scholars, cultural and cultural departments, and use rich and diverse artistic methods to combine the latest archaeological discoveries, research results and theoretical development with the pioneering and innovative content of the program, and constantly enrich the people Historical knowledge and cultural feelings. It should also make full use of the advantages of media integration, especially mobile Internet, to strengthen the communication effects and interactive characteristics of such programs, so that literary and artistic products have a real social impact, and in the process of communication and interaction, realize the creative transformation of excellent Chinese traditional culture, Innovative development.
(The author of Junjun Liang is an associate professor at Tsinghua University)