摘要
Abstract
Taking the entire creative and production process of the Peking Opera movie Madam Liang Hongyu as a case study,this paper systematically examines the application mechanisms,technical logic,and aesthetic reconstruction en-abled by China's self-developed LED virtual production technology in the cinematic transformation of traditional Chinese opera.As the first theatrical feature movie in China to be produced entirely with a domestically developed LED virtual pro-duction system with independent intellectual property rights,this movie represents not only a significant technological itera-tion within the national film industry,but also a modern response to the traditional Chinese aesthetic paradigm of the sym-biosis of void and substance.Based on the compound perspective of director,producer and production director,this paper discusses from three dimensions,including the localized research and development of technical ontology,the digital recon-struction of traditional Chinese opera aesthetics,and the dialectical interaction between technology and art at the level of production relations.The research demonstrates that LED virtual production effectively resolves the ontological contradic-tion between the stylized performance system of traditional Chinese opera and the realistic spatial logic of cinema through the production process reformation towards the preposition of post-production and the immersive light and shadow field of"what you see is what you get".With constructing a new aesthetic paradigm for figures from stage to screen,this approach provides an empirically grounded solution for both China's pursuit of industrial advancement in movie production and the creative transformation of outstanding traditional Chinese culture.关键词
京剧电影/《安国夫人》/虚拟摄制/LED/虚实融合Key words
Peking Opera Movie/Madam Liang Hongyu/Virtual Production/LED/Virtual-Real Fusion分类
社会科学
