The theoretical basis of scene scheduling school is ().

The theoretical basis of the scene scheduling school is Bazin's image ontology, which pays special attention to the role of cameras and lenses. It holds that the mission of film is to reshape the world with the images of the world itself, and any film technology that undermines the integrity and unity of the objective world should be banned. Therefore, the aesthetic ideal of image ontology is to pay attention to the authenticity of the object, strictly observe the unity of space, maintain the true continuation of time, emphasize the authenticity of narration, and create an illusion of the external world with sound, color and three-dimensional sense. Image ontology has had a great influence on postwar western films, and has become the theoretical driving force supporting Italian neo-realism and French new wave films, but it has also been criticized by film theorists, especially structuralists and film semiotics. Film semiotics holds that image is not the realistic representation of the world, nor the same thing in reality, but the result of people observing the world under different cognitive conditions, and it is a cultural symbol system. This theory is a fundamental negation of image ontology. In the late 1970s, American filmmakers gave a new explanation to the concept of image ontology. Regina Cowell, in his works on some formalistic tendencies of American avant-garde films, linked the concept of image noumenon with self-reflective films that showed the film-making process and structure, focusing on the film as a material form, the materiality of the film substrate, the role of light on the film and the relationship between audio and video. In this way, the image ontology has changed from the inherent concept that film is a means to copy natural objects and things without human intervention (the inherent nature in the photochemical process) to a modern concept to explore the photochemical characteristics of film production. The core of this theory is to strictly distinguish film elements such as film base, light and shadow, audio and video from non-film elements such as plot, narrative and performance, and to explore the expressive force of film elements. This theory has a certain influence on western experimental films. After 80, what is a movie? With the publication of the Chinese version of the book, China film scholars have seriously discussed the image ontology, affirmed its important role as the theoretical cornerstone of real aesthetics, and criticized this theory for ignoring the aesthetic essence of film art in many aspects, such as the subjectivity of theme selection, the artistry of light and shadow processing, the richness of film means and the diversity of film styles.