电影教育做为行业人才培养的关键途径，伴随着电影的诞生而发展，既培养了一代又 一代电影人才，又通过影片提升了大众的美育素养与艺术鉴赏力。将气氛美学与电影教育 相关联，一方面突出电影的气氛对在场观众的感染力与引导作用，另一方面也是对电影专 业课程对学生的艺术、美育素养与审美能力与艺术鉴赏能力的培养作用的强调。本文从气 氛美学与电影的联系入手探讨电影教育的发展，从通识教育与专业教育两方面分析了高等教育中电影专业课程如何培养学生的审美素养、文化认知和艺术欣赏能力，进而总结电影 专业院校、艺术类院校、综合类院校等不同类型高等院校的课程教学方法与策略。新文科 建设着力推进文科专业的数字化改造，电影相关专业的课程设计也应更多注重交叉学科的 人才培养，影视的发展不仅需要高水平核心创作人才，也需要适应科技发展的复合型人 才，因此各类院校电影专业课程设计应转向跨学科、跨院系合作，打破专业限制，努力推 动未来影视行业的创新发展，这也是时代发展的根本需要。

This paper aims to explore a feasible script writing method and theoretical guidance based on the concept of combining traditional Chinese philosophical ideas with film creation. With the origin and continuation of Qilu culture as the main description object, it explores the origin of Qilu culture, combines the ideological characteristics of Qilu culture with film creation methods, and further deduces the significance of Confucianism, the epitome of Qilu culture, Connect the core Confucian ideology of “benevolence” with the theme of film creation, and explore the contemporary value of Qilu culture. Through story creation, the audience can further understand Qilu culture, treat Qilu culture as a cultural community, and provide a broader perspective for spreading Chinese stories.

The 1980s is the golden decade for the vigorous development of Chinese films. During this period, the documentary aesthetics led by the fourth generation of directors quietly rose. Under the background of great changes in China's politics, economy and culture, Chinese films, which inherit the original production system and decades of development experience, are full of vitality. On the one hand, they are accusing history, on the other hand, they are seeking a kind of seclusion and evasion, and they are digesting their youth sacrifice in the "real" image. Taking old stories in the south of the city as an example, this paper re examines the works of the fourth generation directors from the aspects of narrative motivation and complex mood expression, in order to provide new ideas and perspectives for how to express Chinese stories and Chinese culture in the era of cultural globalization. We should actively sum up and absorb the achievements of Chinese films in the 1980s. In the current context of cultural globalization, we should use practice to seek and explore how to use Chinese image language to tell Chinese stories and express profound, beautiful and profound Chinese culture.