Welcome to Francis Academic Press

Frontiers in Art Research, 2022, 4(3); doi: 10.25236/FAR.2022.040304.

Issues on Film Ontology from the Perspective of Art Ontology

Author(s)

Zhao Hang

Corresponding Author:
Zhao Hang
Affiliation(s)

Nanjing University of the Arts, School of Media Arts and Communication, Nanjing, China

Abstract

Art ontology belongs to the category of art philosophy and theory, and it is the embodiment of fundamental problems in art philosophy and approach. It explores the origin of "what exactly is art." As a comprehensive art, film, through the discussion of film ontology, explores the problem of art ontology. In addition, with the continuous development and transformation of digital technology, movies have derived the problem of digital movie ontology. Therefore, this paper explores the issue of film ontology from the perspective of art ontology from the perspective of development and comparison.

Keywords

Art Ontology; Film; Digital Film

Cite This Paper

Zhao Hang. Issues on Film Ontology from the Perspective of Art Ontology. Frontiers in Art Research (2022) Vol. 4, Issue 3: 18-23. https://doi.org/10.25236/FAR.2022.040304.

References

[1] Wang Yuechuan: Art Ontology, China Social Science Press, 2005 edition.

[2] Song Wei: The Critique of Traditional Ontology and Art Ontology, Journal of Guangxi Normal University: (Philosophy and Social Sciences Edition), 2013, No. 1, pp.63-68.

[3] Song Wei: Problems of Art Ontology in the Field of Modern Ontology, Literature and Art Research,  2012, No. 7, p.29.

[4] Andre Bazin: What Is Cinema, Beijing: China Film Publishing House, 1987.

[5] Huang Wenjie: The evolution of modern film theory: from film psychoanalysis to film ontology psychology, Film Literature, No. 11, 2013, pp. 18-22.

[6] Xiong Li: Ontology of Digital Film ,Literary Review, No. 11, 2014, p.100 

[7] Meng Jun: Dynamics and Suspension: Two Technological Changes and Aesthetic Orientations of Film, Modern Communication, No. 10, 2017, pp. 79-84.

[8] Zhang Wenjun: New Technology of Contemporary Media, Fudan University Press, 1998 edition.

[9] Zhu Guangqian: History of Western Aesthetics, Beijing: People's Literature Publishing House, 2002.

[10] He Yuankun:From "Hyperlink Movies" to "Hypertext Movies": An Investigation of Film Mediated Phenomenon in the Background of Web2.0, Journal of Beijing Film Academy, No. 1, 2021, p. 33.

[11] Li Jian, Ji Dan:A tentative discussion on the artistry of interactive films, Film Review, No. 8, 2018,, pp. 54-57.

[12] Chen Yan: Evolution of the Normal Viewing Form in the New Media Environment, Media, No. 16, 2019, p. 95.

[13] Xie Jiajin: Ang Lee’s Wartime – Format Experiment of Billy Lynn's Long Halftime Walk, Film Art, No. 1, 2017, p. 136.

[14] Peng Jixiang: Depth and Movement, Contemporary Cinema, No. 3, 1984, pp. 148-154.

[15] Zeng Xiaoming: On the Future Development Trend of Film Sound Art Creation, Journal of Beijing Film Academy, No. 1, 2004, pp. 71-78.