Characteristics of Chinese Internet Literature Adaptation in Film and Television under Aesthetic Perspective

Abstract

From the perspective of aesthetics, we analyze the characteristics of Chinese network literature film and television adaptation, study how to grasp the application of aesthetic expression in Chinese network literature film and television adaptation on the basis of theory, and emphasize that network literature, as a good form of art with the momentum of cross-media dissemination, can be reasonably and interestingly guided and beautifully adapted by literary works in an environment where the atmosphere of ideology and consciousness is becoming more and more free. From the perspective of aesthetics, we analyze the characteristics of the film and television adaptations of Chinese Internet literature, study how to grasp the application of aesthetic expression in the film and television adaptations of Chinese Internet literature on the basis of theory (Chen, 2021), and emphasize that Internet literature, as a good form of art with the development of cross-media dissemination and in the increasingly free environment of ideological atmosphere, howto realize the functions of guidance and aesthetic education in a reasonable and interesting way. Based on the background of the new era of media integration, the literary works adapted from Internet literature have new features such as rapid dissemination of content, wide audience coverage, and no restriction on the time and space of dissemination and media, etc (Liang and Moon, 2019). Since the opening of First Close Encounter in 2004, the promotion and influence of the film and television adaptation of Internet literature has continued to increase, and has gradually entered into the "fast lane" since then. [...]due to the "turn" of the communication mode, the film and television adaptation of online literature has become a new communication trend in the new era (Mengyue and Jahng, 2020).

Headnote

Abstract: With the continuous popularization of Internet technology and the rapid development of network society, network literature, as an important force, is quietly shaping a rich and diversified cultural space. From the perspective of aesthetics, we analyze the characteristics of Chinese network literature film and television adaptation, study how to grasp the application of aesthetic expression in Chinese network literature film and television adaptation on the basis of theory, and emphasize that network literature, as a good form of art with the momentum of cross-media dissemination, can be reasonably and interestingly guided and beautifully adapted by literary works in an environment where the atmosphere of ideology and consciousness is becoming more and more free. It emphasizes how the literary and artistic works can rationally and interestingly realize the functions of guidance and aesthetic education in the increasingly free environment of ideological atmosphere.

Keywords: Internet Literature, Film and Television Adaptation, Intertextuality, Aesthetic Perspective

1. Introduction

With the continuous popularization of Internet technology and the rapid development of network society, network literature, as an important force, is quietly shaping a rich and diversified cultural space of individuality (Hu and Chen, 2023). From the perspective of aesthetics, we analyze the characteristics of the film and television adaptations of Chinese Internet literature, study how to grasp the application of aesthetic expression in the film and television adaptations of Chinese Internet literature on the basis of theory (Chen, 2021), and emphasize that Internet literature, as a good form of art with the development of cross-media dissemination and in the increasingly free environment of ideological atmosphere, howto realize the functions of guidance and aesthetic education in a reasonable and interesting way. It emphasizes how literary works can rationally and interestingly realize the functions of guidance and aesthetic education (Li, 2016).

Compared with the traditional way of communication, under the tendency of panentertainment presented by the new media, the aesthetic characteristics of film television adaptation of Internet literature have also changed, which are significantly manifested in the fact that the aesthetic characteristics of the film and television adaptation of Internet literature have also changed (Lei and Liu, 2023). Compared with the traditional way of communication, under the tendency of "pan-entertainment" presented by new media, the aesthetics of the film and television adaptation of online literature has also changed, which is significantly manifested in the "dynamic" adjustment of its dissemination "threshold" (Le et al. 2023). Based on the background of the new era of media integration, the literary works adapted from Internet literature have new features such as rapid dissemination of content, wide audience coverage, and no restriction on the time and space of dissemination and media, etc (Liang and Moon, 2019). Since the opening of First Close Encounter in 2004, the promotion and influence of the film and television adaptation of Internet literature has continued to increase, and has gradually entered into the "fast lane" since then. After that, it gradually entered the "fast lane". The film and television adaptation of network literature not only changes the way of dissemination, but also gives rise to changes in aesthetic characteristics.

2. Related Work

In the context of the intelligent media era, the film and television adaptation of network literature has also made more attempts on the communication path. A large number of literary works on literary websites are the main communication pattern of network literature before adaptation (Wang, 2022), and network TV and public theaters were originally the main communication platform after adaptation. However, with the emergence of new media communication methods such as smartphone APP Jitterbug and Shutterbug, the "threshold" of communication has been adjusted from the mode of communication, which not only allows film and television images and video clips to be played on mobile platforms (Ng and Li, 2023), but also implants links to original novels during the broadcast of film and television dramas, so as to make network literature and film and television adaptation form a two-way interactive communication. Interactive communication. In short, due to the "turn" of the communication mode, the film and television adaptation of online literature has become a new communication trend in the new era (Mengyue and Jahng, 2020).

The Internet has given birth to a series of new communication media, and the new media have dissolved the linear communication mode of traditional media. Under the background of media convergence, communication resources and communication methods can be integrated and shared, and the integration and mutual construction of intellectual media and all-media have formed a set of standardized and systematic communication chain and content production mechanism, so that online literature has gained fast communication channels and platforms, and at the same time updated the efficiency of content promotion and communication influence (Ng and Li, 2020). With the rapid development of digital science and technology, strong technical guarantee has provided indispensable guarantee for the communication effectiveness of the film and television adaptations of network literature and fantasy works (Zhang, 2018). The extensive implantation of special effects, threedimensional film and television technology has rewritten the traditional production methods of images and changed the traditional communication channels of images, and a number of network literature film and television adaptations such as "Tomb Raider's Notebook" and "The Immortal Exorcist" have emerged, and the era of network literature film and television adaptations with "intelligent communication" has already arrived (Yang, 2022).

3. Material and Method

3.1. Characteristics of Chinese Internet Literature Film and Television Adaptation under Aesthetic Perspective

Under the background of the new era, a series of changes are taking place in China's film and television industry. The integration of art disciplines and the further development of the relationship between different arts have not only resulted in the mobility of "creative subjects" and the interoperability of aesthetic styles in the film and television adaptations of online literature, but also brought about the "blending" of artistic phenomena, "intertextualization" of artistic styles, and "mutual construction" of artistic forms (Zhou, 2021). It also brings about "hybridization" of artistic phenomena, "intertextualization" of artistic styles, and "interconstruction" of artistic forms, which leads to the need to pay attention to many "phenomena" between network literature and film and television dramas that have developed as a result. In order to represent the coordinates of each point of the sea surface and the dynamic changes of the coordinate points, a height field can be established to represent the sea surface (Chen and Liu, 2023). In general, the fractal noise function can be obtained by means of fractal superposition and simple weighting of Perlin noise functions of different frequencies. Figure 1 shows the construction method of one-dimensional fractal noise.

3.2. Pluralistic Intertextual Relationship

The integration of art disciplines and the further development of the relationship between different arts have not only resulted in the mobility of "creative subjects" and the interoperability of aesthetic styles in network literature and film and television adaptation, but also brought about the "blending" of artistic phenomena, "intertextualization" of artistic style, and "interconstruction" of artistic forms, leading to the need to pay attention to the many "phenomena" between network literature and film and television dramas. This has also brought about the "blending" of artistic phenomena, "intertextualization" of artistic styles, and "interconstruction" of artistic forms, which has led to the necessity of paying attention to the many "phenomena" that have developed between network literature and film and television dramas (Xu et al. 2023). The embodiment of this "intertextual" relationship is related to China's current cultural and artistic background, and Liu Binbin points out that "since the new century, there have been fewer fierce conflicts between the dominant, elite and popular cultures in China's cultural landscape, and more friction, penetration, and interaction, or, in other words, there has been more integration, penetration, and interaction between the dominant, elite, and popular cultures, or, in other words, the dominant, elite, and popular cultures. Or, in other words, the pattern of intertwining and coexisting among the dominant culture, elite culture and popular culture has become clearer. In response, the 'fusion view' of multicultural interaction and mingling has gradually become the dominant concept in TV drama adaptations".

With the advancement of time, the same literary work has been adapted into different versions of film and television dramas in front of the audience. Such a form maximizes the cultural context between literary works and film and television texts, and reflects their "intertextuality" characteristics. Under the background of intelligent media, the high development and updating of network media give the text of literary works a richness of its own connotation, which is unprecedented before.

Under the premise that online literature has become an important source of movie and TV drama adaptations, its textual interaction has become closer and closer. Different adaptations and presentations of the same text, and different interpretations and explanations of different texts have gradually become important features of contemporary film and television adaptations. In this kind of complex and diversified textual intertextual relationship, the meaning of popular culture and art is constantly being better revealed and released. As a typical representative of "multiple texts", Dulala's Promotion has completed the presentation of novels, dramas, movies and TV dramas in a short period of time. The great cultural charm presented by the TV drama formed the basis for the reference and adaptation of the movie, and its commercial value also exerted the "butterfly effect" of popular culture in the "interactive relationship of art categories" and "intertextual relationship of art texts". Its commercial value also exerts the "butterfly effect" of popular culture in the "interaction of art categories" and "intertextual relationship of art texts".

In recent years, the movie and television adaptations of some online literature works into the mobile media have also achieved great success, which is based on the public's high familiarity with the movie and television adaptations of online literature. Under the environment of "big art" where art categories are inter-textual and inter-constructive, the large number of interactions between network literature and film and television adaptations in terms of aesthetic presentation and text writing has become an important phenomenon that cannot be ignored in the current culture of film and television adaptations of network literature, and the phenomenon of "generalization" triggered by the phenomena of networkization, commercialization and art. By the phenomenon of "generalization" such as networkization, commercialization, and artisticization, the intertextual characteristics of network literature and film and television adaptation have become one of the most important viewpoints of artistic creation at present.

3.3. The Application of Acceptance Aesthetics Theory in the Adaptation of Literary and Artistic Works

In the 20th century, the field of literary aesthetics produced the theory of receptive aesthetics, whose main point of view is to take the receiver as the core and affirm the receiver's subjective position from the perspective of the audience. In artistic activities, the subjective initiative of the receiver is emphasized, on the basis of which representative and influential academic ideas such as "reader-centeredness", "anticipatory vision" and "summoning structure" are put forward. On this basis, he put forward such representative and influential academic views as "reader-centered", "anticipatory vision" and "calling structure". Yao Si borrowed Gadamer's "vision" as a hermeneutic term to put forward the theoretical viewpoint of "anticipatory vision", and he has long been focusing on the study of the receptive subject of literary and artistic works. He pointed out that readers in literary and artistic activities have a dynamic role in art works as receivers, i.e., "there are a thousand Hamlets in a thousand readers' hearts". The experience of the subject in literary activities, i.e., the receiver's own aesthetic experience, social experience, life background, etc., will form his potential subjective expectations and associated imagination of the work. Wolfgang Iser (1991) believes that the reader's participation is the source of the value of a literary work, and points out that "the pole of art is the author's text, and the pole of aesthetics is accomplished by the reader. Based on this principle, he also put forward the theory and concept of "summoning structure", in which he believes that the text of every literary work can only be regarded as a "semifinished product", leaving plenty of space for more artistic imagination, which not only attracts the subject of artistic activity to artistic reinterpretation, but also provides an opportunity for the reader to participate in the work. This not only attracts the subject of artistic activity to artistic reinterpretation, but also allows subjective creative activity in the artistic text.

The process of re-understanding literary works is the process of objectifying the audience's "expectation vision". When a literary work, whether it is an auditory work or a visual work, is consistent with the audience's existing "horizon of expectation", the objectified understanding can be completed quickly. When there is a conflict of "expectation" between the subject and the object in literary and artistic activities, the only way is to break the "established field of vision" so that the new "experience of feeling" can be raised to the "level of consciousness", through which the new "experience of feeling" can be raised to the "level of consciousness", and the new "experience of feeling" can be raised to the "level of consciousness", through which a more precise and new horizon of expectation is formed. Based on the diversity of "personal expectation horizons", according to the viewpoint of the theory of acceptance aesthetics, the life of a literary work exists in the dynamic process from "creation" to "acceptance" by the subject and the object, so that the audience can have a better understanding of the artwork. According to the viewpoint of acceptance aesthetics theory, the life of literary works exists in the dynamic process from "creation" to "acceptance" by the subject and the object, so that the audience accepts the works of art, not passively "pouring" but actively participating, imagining and re-creating.

As a movie and television work adapted from network literature, the "subject" is the active participant and the active creator. They communicate in artistic activities, experience in daily life, feel the knowledge of art itself in "expectation" and "imagination", think about the way of artistic communication and the presentation of artistic expression. Similarly, the "object" in the receptive position in the process of artistic activity also needs the corresponding artistic understanding to accurately comprehend the aesthetic message conveyed by the "subject" through the artistic text, and to stimulate the "common experience", so that the "common experience" can be realized and the "common experience" can be realized. The "subject" also needs the help of corresponding artistic understanding to accurately comprehend the aesthetic message conveyed by the "subject" through the artistic text, and thus stimulate the "common experience", so that the ability of "artistic imagination" can ultimately realize the aesthetic resonance in the specific aesthetic emotion and artistic communication of the artistic text. "Communication does not mean having a single, frozen meaning, but having diverse, flowing meanings." Therefore, the way of presentation and interpretation of "aesthetic interconstruction" is actually an artistic way for "participants" and "initiators" of artistic activities to interpret the aesthetic object in accordance with certain artistic laws and artistic cognition. It is actually an artistic way for the "participants" and "initiators" of artistic activities to interpret the aesthetic objects according to certain artistic rules and artistic knowledge.

By training and optimizing the model, the actor's expression can be accurately captured and classified. Finally, the captured expressions are applied to the character model to generate realistic character animation. The operation flow of expression capture in this article is shown in Figure 2.

3.4.The Film and Television Adaptation of Network Literature Satisfies the Audience's High-Level Artistic Psychological Needs.

In 1974, Elihu Katz first proposed the theory of "use and satisfaction". In his definition, the audience is defined as a dynamic subject, and the idea is that the "individual", under certain social and psychological conditions, generates "needs" and "expectations" for the use of the media, depending on the situation. The "individual" will generate "needs" and "expectations" for media use under certain social and psychological conditions. "Individuals will respond to these expectations by combining their own media availability with their own media evaluations. This will lead to media use. The result is that the "individual" will use the media in accordance with his/her expectations. The result is the fulfillment of the "individual's" needs and the "individual's" influence in other ways. These "influences" will determine the individual's subsequent media evaluation and the next media selection process. In the film and television adaptation of online literature in the new media era, the linkage of "net and radio" can give more choices to the audience in terms of the way of dissemination. In the form of presentation, the instant interactive communication and immersive experience brought by the mobile media have improved the audience's participation to a certain extent. In the organization of content, the cultural atmosphere created by the film and television adaptations of network literature can widely trigger the emotional resonance of the audience, arouse the audience's "yuan" cultural identification with the film and television adaptations of network literature, and make up for the audience's "yuan" cultural identification with the film and television adaptations of network literature. Culture, make up for the lack of audience's cognition, and satisfy the audience's demand for higher quality of artistic spirit.

From the viewpoint of the theory of use and fulfillment, the choice and use of communication media by the audience has a certain subjective purpose, i.e., to satisfy their own "choice" needs through the media and the choice of media. On the other hand, social needs and audience's personal psychological needs are also important factors influencing how to choose media and frequency. For these reasons, in the context of the large number of film and television adaptations of Internet literature, the creation of works should be combined with the promotion of excellent traditional culture, in line with the "main theme" value concept, so as to arouse the audience's "collective memory" of the excellent cultural confidence, to coalesce national cultural consensus, and to meet the needs of human destiny. This is the only way to arouse the audience's "collective memory" of excellent cultural confidence, to unite the national cultural consensus, and to meet the development needs of the human destiny community.

The theory of use and fulfillment also holds that the main condition for film and television adaptations of online literature to satisfy the basic needs of the audience is to make the audience agree with the content conveyed by the media of their choice. With the continuous development of the material and spiritual dimensions of society, people have been satisfied with their material needs, and at the same time, they pay more attention to the pursuit of the spiritual world. The film and television adaptations of Internet literature, with their unique cultural attributes, rich and profound contents and outstanding cultural values, enable the audience to draw nourishment from the artistic spirit in the unique cultural atmosphere, and satisfy the audience's high-level artistic and psychological needs.

4. Experimental Design and Analysis

In the long years before literature took on the attributes of the Internet, it became a source of material for various forms of artistic expression with its richness of content. The audio-visual habits and fast-paced lifestyle of consumers nowadays have made literature with network attributes the choice of the market. From a technical tool, the network has become a new channel of expression and consumption needs. Based on the play of network literature characteristics, film and television adaptation combines technology, art and demand to build a new path of artistic creation, and continuously improves with the change of market demand, which reveals the cross-media dissemination path of narrative strategy of Chinese network literature film and television adaptation.

4.1. Expanding Communication Channels

The content volume, coverage of the population and market share of Chinese online literature is very considerable in the world, and this unique cultural industry situation makes Chinese online literature regarded as a culture that is expected to spread globally after ACG, and the audio-visualization of the communication mode, the communication of social media and short video platforms add to the progress of Chinese online literature to form an influence in overseas. The film and television dramas adapted from network literature, such as "The Order of Chen Emotion" and "The Legend of Concubine Zhen Huan", have attracted widespread attention overseas, and the dissemination of the effectiveness of Chinese network literature film and television adaptation has played a certain role in the dissemination and promotion of Chinese culture overseas, and has helped to gain a deeper understanding of the aesthetic transformation of the network literature film and television adaptation, and to deepen the understanding of the ontology of art.

4.2. Deepening the Cognition of Art Ontology

In the development process of network literature, the counterforce of consumer interactivity has been accompanied by the impact of the market consumerism concept brought by network civilization and the enlightenment of the perspective of Western modernity in the process of creation of network literature, the value stance and aesthetic angle of network literature creation are influenced by both, presenting a modernity that is greatly different from that of traditional literature. When network literature provides diversified content subjects for film and television adaptation, its own artistic form, narrative strategy, and aesthetic characteristics also change with the change of consumer consumption habits. Under the cross-media communication vision, the audience's "new demand" reacts to the film and television adaptation strategy of network literature, presenting a new business mode of network literature adaptation that is different from the previous one.

4.3. Realize the Function of Aesthetic Education and Guidance

Under the background of the era of continuous development of new media, the works of network literature film and television adaptation are produced in large quantities and widely under the growing spiritual and cultural needs of the audience, and the film and television adaptations of network literature have become an important carrier of cultural choices in the view of the public. As works of art, the information contained in the film and television adaptations of Internet literature has a social public value and aesthetic guidance function. Positive network literature film and television adaptations can play a positive role in the dissemination process.

In this process, a loss function is usually used to measure the gap between the generated image and the target style and content image, and optimization algorithms are used to minimize this loss. After optimization, the resulting image may require some postprocessing steps, such as color correction, contrast adjustment, etc., to obtain the final style transfer result. The image style migration process generated by film & TV animation is shown in Figure 3.

5. Conclusions

The film and television adaptations of network literature should give full play to their own aesthetic function, apply the concept of beauty in film and television works, adhere to the unity of ideology and artistry, the unity of inheritance and innovation, and develop network cultural works with Chinese characteristics." The film and television adaptation of network literature is not only based on the "network world", but also based on "real life", not only to construct the "unreal story world", but also to face the "real real world". We should not only construct the "unreal story world", but also face the "real world", and we should actively discover the beauty of life and capture the touching moments in life.

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