# Application Model Construction of Intangible Cultural Heritage Dissemination in Film and Television Art Creation in Postepidemic Era

Authors: Haijiao Yu
Journal: Wireless Communications and Mobile Computing
 (2022)

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## Abstract

Intangible cultural heritage is the inheritance of a national traditional culture and a memory symbol of a national cultural spirit. It tells the timeless cultural journey of an ancient nation with an invisible spiritual force. Strengthening the publicity and promotion of intangible cultural heritage is of great significance to improving the national cultural atmosphere, enhancing the awareness of intangible cultural heritage protection, and increasing the inheritance of my country’s cultural heritage in culture. At present, intangible cultural heritage documentaries are of great significance. The creation of intangible cultural heritage has become the main means of inheritance. It can make intangible cultural heritage known and familiar to more people through multimedia, network, broadcasting, and other media forms and establish an excellent platform for the protection and inheritance of intangible cultural heritage. How to use the media of film and television art to inject the soul of intangible cultural heritage into it, so as to better inherit and develop it among the masses, is the focus of contemporary literature and art creators and art managers to discuss and study. Aiming at the problem that unstructured intangible cultural heritage video resources are difficult to store and manage, this paper proposes an application model of intangible cultural heritage dissemination. Semantic annotation, linked data construction and publishing, etc. make it a structured intangible cultural heritage video semantic unit, which can be better applied to the creation of film and television art.


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## Body

## 1. Introduction

On the dissemination and protection of intangible cultural heritage, UNESCO advocates “adopt different ways and methods, including film and television and multimedia products, to promote innovation among different ethnic groups and different social groups.” The film and television industry essentially follows the logic of consumerism, which belongs to the category of cultural industry. Its basic path is to package nonmaterial cultural heritage in a series of ways, through outstanding visual effects and postprocessing, so that the audience can have audio-visual shock and then exchange profits. In recent years, there has been an increasing number of TV columns and film and television cultural works that incorporate intangible cultural heritage into the program content, in the form of public welfare announcements, TV documentaries, TV variety shows, and film and television art programs [1]. Although the first two win with appeal and authenticity, respectively, but the overall style of the show is solemn and serious, and the simple picture commentary and host commentary do not match the style of the current entertainment era; so, it is difficult to arouse the interest and attention of young audiences [2]. The overall rate is worrying; at the same time, the static expression of “Shoushan Stone” also prevents the intangible cultural heritage from reaching the audience’s heart, making it difficult to obtain a real sense of identity. Cultural TV variety shows are increasingly popular and popular because of their strong entertainment and interactivity, especially the large-scale traditional cultural reality shows “Inheritance“ and “Extraordinary Ingenuity” launched by Beijing Satellite TV [3]. The program and other traditional cultural variety shows have formed a “phenomenal” column.Video art is not only an important information storage method but also an intuitive visual medium for transmitting information and expressing knowledge. It can express complex information that is difficult to express in text and images. Imaging has unparalleled advantages for the protection and inheritance of intangible cultural heritage. With the development of digital protection of intangible cultural heritage, the media of film and television plays an important role in the protection and inheritance of intangible cultural heritage and the dissemination of culture by virtue of its vivid audio-visual, strong feeling, and strong sense of image [4]. Film and television works are also the most popular art form among the masses. From TV news to variety shows, to documentaries, feature films and related films, and dramas, different types of programs have different influence and audience groups. In the era of visual culture, the advantaged means of film and television media gradually inspire the audience’s sense of national identity and pride in intangible cultural heritage, so that they can understand, care about, and take action to participate in the protection of intangible cultural heritage. At present, the organization of intangible cultural heritage video resources has problems such as low degree of semantic description, weak correlation, and insufficient knowledge expression. The organization of intangible cultural heritage video resources lacks unified technical specifications and standards. With the explosive growth of video resources in the field of intangible cultural heritage, the storage, organization, utilization, and dissemination of massive, heterogeneous, and multisource intangible cultural heritage video resources have become the focus of research; how to transform massive intangible cultural heritage video resources from isolated data to deep semantics aggregating and applying traditional intangible cultural heritage video resources to film and television art creation has become an important problem to be solved urgently in the field of intangible cultural heritage digitalization [5].


## 2. State of the Art

Intangible cultural heritage is the soul and essence of a country’s traditional culture, representing the “root” and “soul” of national culture, and has a subtle and long-standing role in the healthy development of the entire society, the sublimation of human thought, and the inheritance and development of national spiritual civilization. Film and television art has direct and effective characteristics in various forms of carrying, which can better enhance people’s comprehensive understanding of history and culture [6]. Many domestic films in our country are consciously involved in traditional culture or intangible cultural heritage. These films bring the audience into a traditional world full of art and culture with sincere emotion and ancient sense of picture. Integrating intangible cultural heritage into story creation and using film and television works to popularize intangible cultural heritage knowledge and skills is undoubtedly a good way to spread intangible cultural heritage. As the manifestation of Chinese excellent traditional culture, intangible cultural heritage elements will also bring more highlights to the creation of film and television dramas.


## 3. The Relationship between Film and Television Art and Intangible Cultural Heritage

### 3.1. Complementarity in Style and Communication

Film and television art works can provide a good environment for the development and protection of intangible cultural heritage, so that intangible cultural heritage can be restored to life. Under the background of the new era, the original living environment of intangible cultural heritage has been damaged to a certain extent. Obviously, there are many problems in the inheritance and protection of traditional methods, which can be better solved through film and television works of art, and the two can achieve effective complementarity. On the one hand, the styles of film and television art works are very diverse, and in the face of different protection objects, you can choose the most suitable way to display them. For some intangible cultural heritage cultures whose living environment is relatively closed and whose popularity is relatively low, the cultural connotation and charm of some intangible cultural heritage cultures can be well displayed by means of filming documentaries, and the attention will be strengthened. On the other hand, there are many dissemination channels for film and television art works, including traditional media and online channels, and the audience includes all age groups, which can effectively disseminate intangible cultural heritage and attract more young people to pay attention to intangible cultural heritage.


### 3.2. The Source of Power for the Development of Cultural Industries

Intangible cultural heritage is a classic that has been precipitated in my country’s thousands of years of history, and it is worth recording and preserving. Film and television works of art can record and store intangible cultural heritage, which is conducive to the development and dissemination of cultural industry. It is a sustainable ecological development model [7]. At present, the common intangible cultural heritage has been displayed through the expression of film and television art, and there is still a lot of content in the intangible cultural heritage that has not been excavated, which is a field worthy of continued exploration. Taking the singing and dancing performances of ethnic minorities as an example, Miao Fei Ge, Mongolian Khumai, etc. have been widely disseminated, while Shui water songs have received little attention. As a relevant worker in the cultural industry, you should have a keen eye to discover uncarved rough jade, dig out the cultural heritage and spiritual quality behind it, and create more excellent film and television art works.


### 3.3. The Process of Film and Television Art with Intangible Cultural Heritage Elements

In today’s mass media era, we find that the creation and dissemination of intangible cultural heritage-themed films have become a good way. Compared with books, this form of film carrier is a more attractive means and is more in line with the general public [8]. In many film and television works, there are contents that involve intangible cultural heritage, such as the familiar “Human and Ghost.” From these film and television art works, we can summarize several characteristics of film and television in the dissemination of intangible culture:One is the mass media. In the art of film and television, the role of the user has changed. Traditional media users can only accept uniformly edited and reviewed information, without the right to choose independently, and users cannot share information with each other. Each user is independent and cannot communicate with other users [9]. However, in the art of film and television, users can choose to edit information independently, and users can communicate with each other in various ways and share information with each other. Everyone can create and disseminate information as long as they have internet-connected electronic devices.Second, the speed of dissemination is fast. Before the traditional media publishes news, it needs to go through the steps of editing, reviewing, modifying, and reviewing, and then it can be uploaded and published on the media platform. The efficiency is very low, and the information is often outdated when the information is released, the release cycle is long, and the timeliness is lacking. Different from traditional media, film and television art has a stronger timeliness, users can get the latest news at the first time, and in the network, the dissemination of news is spread in the form of power, and the receiver of information is also the disseminator of information. Information spreads explosively [10].The third is strong communication and interaction. In the art of film and television, each user exists independently and is connected with each other, and there is a lot of communication between individuals. There are various forms of communication, such as voice, text, and video. In the art of film and television, the information publisher can communicate with the information receiver, and the information receiver can directly participate in the convenience of the information, which can enhance the user’s participation [11].Fourth, content diversification is as follows: film and television art has a variety of forms. Users are virtual and anonymous in film and television art, and different identities are equal in film and television art, which makes the sources of information diverse and the content of information diverse. Because there are various message forms in film and television art, the content of film and television art is guaranteed to be diversified [12]. At the same time, film and television art also covers the functions of traditional media.Cultural heritage can also drive the economic level of some cities to a higher level. When some cities are faced with crises such as the depletion of urban resources, the development of the city is difficult, and the emergence of tourism can solve the urgent need. Tourism is green and environmentally friendly, which has a good effect on the recovery of the urban economy.


### 3.4. Difficulties in Applying Intangible Cultural Heritage Video Resources in Film and Television Art Creation

With the development of digital protection and video recording of intangible cultural heritage, the video and image resources of intangible cultural heritage have reached the level of big data. The video recording of intangible cultural heritage is real and objective. Video recording simultaneously records pictures and sounds. It is the first-hand valuable material for academic research such as anthropology and ethnology and has important archival research value [13]. Secondly, the video recording of intangible cultural heritage can express the theme from multiple dimensions: through different shooting angles, it can show the changes of the scene and record and express the cultural space and cultural background of the intangible cultural heritage in a three-dimensional, vivid, and complete way. Finally, through the processing and creation of intangible cultural heritage images, it has high artistic value and becomes an important way of intangible cultural heritage dissemination; traditional dissemination methods are difficult to adapt to the rapidly changing dissemination environment, and the dissemination of intangible cultural heritage needs to be relying on the power of video communication, through television, Internet, live video, and other media, the rich intangible cultural heritage resources will be widely exposed to the public in an intuitive form, and the public’s participation in the protection and inheritance of intangible cultural heritage will be improved [14].With the census and protection of intangible cultural heritage and the advancement of the digitization of intangible cultural heritage projects, various intangible cultural heritage protection institutions and workers have collected and archived various intangible cultural heritage video and image resources [15]. Figure 1 shows the structure of a typical intangible cultural heritage video resource. It can be seen from the figure that different intangible cultural heritage video resources show great unstructured characteristics.Figure 1
The structure of the intangible cultural heritage video.In the field of information resource management, the current archive-style organization method with documents as the knowledge unit has been unable to meet the needs of knowledge organization and management such as knowledge organization, retrieval, and service in the big data environment [16]. The semantic association between resource entities and domain knowledge with “knowledge element” as the logical unit has become an important development direction of knowledge management and resource management. However, in the field of intangible cultural heritage research, the theoretical research and research level based on knowledge element needs to be further deepened. In this paper, the unstructured intangible cultural heritage video data will become a structured intangible cultural heritage video semantic unit through the process of intangible cultural heritage video knowledge element extraction, video resource semantic annotation, and associated data construction and release, so that it can be better integrated into the creation of film and television art.


### 3.5. Methodology

Information organization is the ordering and quality of information, that is, using certain scientific rules and methods, through the characterization and sequencing of the external characteristics and content characteristics of information, to realize the transformation from disordered information to orderly information flow, so as to achieve scientific combination of information collection, realize effective circulation, and promote the effective acquisition and utilization of information by users. Information organization has the following: clustering, systematicness, dynamics, and multiplicity. From the perspective of dynamic development of information organization, the organization of intangible cultural heritage video resources can be divided into archival organization mode, metadata-based resource organization mode, and semantic organization mode. The idea and method of semantic organization emerged with the development of semantic web and knowledge organization and gradually became an innovative way of organizing information resources in various fields.


### 3.6. Organization of ICH Video Resources

For the rational organization of intangible cultural heritage information resources, first of all, it is necessary to clarify various data types in the field of intangible cultural heritage. As shown in Figure2, the data in the field of intangible cultural heritage can be divided into three categories: unstructured data, semistructured data, and structured data according to the degree of data structure and ordering [17]. Intangible cultural heritage information resources are mainly based on unstructured and semistructured data. Such data cannot be directly understood and utilized by computers, and the value of knowledge and data is often implied in such data. Through the process of organizing and integrating unstructured data, transforming it into structured and semistructured data, and providing machine-readable and processable data, it is one of the major efforts in the field of intangible cultural heritage digitization and the field of graphic archives in recent years.Figure 2
Common data types in the field of intangible cultural heritage.From the perspective of informatization, similar to the organizational model and development of information resources, the organization of intangible cultural heritage video resources has gone through the metadata organization method that describes the basic information of the video, to the data model of aggregating heterogeneous video resources, and to the integration of semantics. There is a process of organizing video content and domain knowledge by web technology at the knowledge level [18]. The unit of information resource organization has also developed from files to data objects to knowledge as a unit, representing archive organization, metadata-based organization, and semantic-based single-level information resource organization.


### 3.7. Ontology Model in the Field of Intangible Cultural Heritage

Ontology is an important technology in the Semantic Web technology stack, which refers to the interpretation and description of the objective existence system. It plays an important role in knowledge management, artificial intelligence, and semantic network and has been widely used in education, agriculture, tourism biology, e-commerce, and other fields [19, 20]. From the philosophical field, ontology is regarded as an objective description of the real existence in the real world; what role and role does ontology play in semantic organization? The role in the transformation from the real objective world to the computational model is as follows: ontology can be seen as a bridge linking the phenomenon model to the information model: the role of the ontology in the semantic organization of the ICH video is to provide a conceptual representation of the objects and their relationships in the ICH domain, and the second is to provide an information model for the semantic description of the ICH video data. As an organic combination of cultural form and cultural space, the management of intangible cultural heritage should not only pay attention to its manifestation but also pay attention to the time, space, ecological environment, and other factors of its survival and development. In order to realize the semantic description of intangible cultural heritage knowledge elements and their associated relationships, we first need to build a metadata ontology to accurately describe the core concepts in the field of intangible cultural heritage and the semantic relationships between concepts.


### 3.8. Intangible Cultural Heritage Video Segmentation and Indexing Methods

In the new information environment, the resource organization method with video documents as a unit cannot meet users’ needs for multigranularity knowledge because of its coarse granularity; intangible cultural heritage video files contain more fine-grained knowledge content, and intangible cultural heritage video knowledge elements can be fully described. A relatively independent video logic unit that accurately expresses the content of intangible cultural heritage knowledge is a fine-grained basic organizational unit in the organization of intangible cultural heritage video resources.Intangible cultural heritage video knowledge element is an abstract concept, but it needs to be treated as an entity object at the level of resource management. When using computer technology to process information, it is necessary to transform the abstract concept of intangible cultural heritage video knowledge element into a concrete data model [21–23]. According to the definition of intangible cultural heritage video knowledge element and the analysis of the main content of video knowledge element, this paper defines the intangible cultural heritage video knowledge element structure as three components: video knowledge element identification, attribute set, and relationship set, and its structure is shown in Figure 3.Figure 3
Structure diagram of intangible cultural heritage video knowledge.According to the above, the intangible cultural heritage video knowledge metastructure is expressed as(1)Vm=Id,<P1,V1,P2,V2,⋯,Pn,Vn>,<R1,O1,R2,O2,⋯,Rm,Om>.Among them,d represents the identification of the intangible cultural heritage video knowledge element, P represents the attribute set or state set of the video knowledge element, which is composed of various attributes of the video knowledge element, and y is the value or state of the video knowledge element attribute; ruler is the video knowledge element. The relation set of the element is composed of various association relations of the video knowledge element, and D is the object or instance associated with the video knowledge element.Intangible cultural heritage video shot segmentation and key frame extraction are the preprocessing process of video knowledge element extraction and resource semantic organization. Automated video shot segmentation can ensure the accuracy of video knowledge element extraction and reduce the workload of manual segmentation of video knowledge elements. This section mainly focuses on the video shot segmentation and key frame extraction methods. First, the structure of the intangible cultural heritage video is analyzed. Then, based on the local and global features of the video, the shot boundary is checked by combining the SURF algorithm and HSV. Finally, the segmented shots use the singular value-based entropy calculation method to extract the key frames of the shots.The most important step in the SURF algorithm is to construct the Hessian matrix, and the purpose is to generate stable edge points (mutation points) of the image, determine the position and scale of the feature points, and lay the foundation for the following feature extraction. For an imagef, its Hessian matrix is
(2)Hfx,y=∂2f∂x2∂2f∂x∂y∂2f∂x∂y∂2f∂y2.In order to maintain the scale invariance of the extracted feature points, it is necessary to first perform Gaussian filtering on the image when constructing the Hessian matrix. The expression of the filtered Hessian matrix is(3)Hx,σ=Lxxx,σLxyx,σLyxx,σLyyx,σ.The discriminant is(4)dH=∂2f∂x2∂2f∂y2−∂2f∂x∂y2.Use the positive and negative relationship ofd to classify all points and judge whether this point is an extreme point. When d obtains a local maximum value, judge whether the current point is brighter or darker than other points in the surrounding neighborhood point, which is determined as the key point. The SURF algorithm replaces the function value f with the image pixel X and selects a Gaussian filter. At X, the scale is as follows, and then the definitions of are
(5)Lxxx,σ=∂2∂x2gσ∗IX,(6)Lyyx,σ=∂2∂y2gσ∗IX,(7)Lxyx,σ=∂2∂x∂ygσ∗IX,(8)Lxxx,σ=∂2∂x2gσ∗IX.Since Lowe uses the DOG operator to simplify the LOG operator, which improves the extraction speed of feature points, therefore, Bay et al. proposed to use a box filter to replace the approximate value ofL in all directions, which is recorded as D. In order to reduce the error, the approximate value of the H matrix discriminant is
(9)DetH=Lxxx,σLyyx,σ−Lxyx,σ2=DxxDyy−wDxy2.The relationship among filter response lengthl, filter size L, group index o, layer index s, and scale satisfies the following conditions:
(10)l0=2o+1s+1+1,(11)L=3l0=3×2o+1s+1+1,(12)σ=1.2×L9=l03.The same method is used to process the template sequences of the other groups. Figure4 shows the filter size changes from the first to fourth groups: the scale space of the first group is 9×9, 15×15, 21×21, and 27×27; other groups increased similarly but doubled, 6, 12, and 24, respectively. To cover all scales, overlap occurs between groups, as shown in Figure 4. Figure 4 corresponds to the 9×9 filter template in the first group of scale space, and the scale increases sequentially from the bottom to the top of the inverted pyramid.Figure 4
Scale space of each group.
(a)
Otaves by scale space(b)
Filters in scaling spaceIf the determinant function of the Hessian matrix is denoted asHx,y,σ, the following conditions are satisfied:
(13)x=x,y,σT.According to Taylor expansion,(14)Hx=H+∂HT∂xx+12xT∂H∂xx.The extremum point can be obtained by derivation of the above formula, that is, the offset in three directions, letH′x,y,σ=0, and there are
(15)x⌢=−∂2H−1∂x2∂H∂x.If the value is greater than 0.5 in three directions, continue to adjust until the value in each direction is less than 0.5 and greater than 0.03, and then it is determined as a feature point.The transformation of the video lens is generally divided into a cut lens and a gradient lens. The cut lens is a direct switch between the two lenses, and the visual change is obvious. The gradient lens has the effects of fading in and out, dissolving, superimposing, etc., the transition between adjacent lenses is smooth, and the visual change is not obvious; as shown in Figure5, the gradient lens appears as a slowly changing trough on the characteristic point matching change curve.Figure 5
Schematic diagram of lens change detection on nonlegacy video screens.Both the shear lens and the gradient lens appear at the trough, and their values are abrupt points relative to a certain range of values on the left and right sides. In this paper, the method of window threshold judgment is used to find out the position of lens transformation. First, the boundary of each trough is judged, and the average value within the set window range on the left and right sides of the trough boundary is calculated. Then, compare whether the value of the trough is less than the standard deviation of a certain multiple of the mean value of the left and right windows, make a secondary judgment on the points smaller than the threshold according to the characteristics of the video, and finally, determine the lens change position.After the nonlegacy video shots are segmented, the extraction of key frames of the shots is an important step in video structure analysis. A key frame can reflect a frame of image of the key content of the shot and can represent the effective information of the shot. Through the key frame, users can understand the main content of the video at a glance. In this paper, we use the entropy calculation method based on singular value to extract the key frame of the lens, perform singular value decomposition on the image frame of the lens and calculate the information entropy of the singular value feature vector. Finally, the image frame with the largest information entropy is determined as the key frame of the lens. The establishment of the lens database provides a good index for the construction of the intangible cultural heritage video database, and at the same time, it provides thumbnail images for users to efficiently browse and find related video resources.


## 3.1. Complementarity in Style and Communication

Film and television art works can provide a good environment for the development and protection of intangible cultural heritage, so that intangible cultural heritage can be restored to life. Under the background of the new era, the original living environment of intangible cultural heritage has been damaged to a certain extent. Obviously, there are many problems in the inheritance and protection of traditional methods, which can be better solved through film and television works of art, and the two can achieve effective complementarity. On the one hand, the styles of film and television art works are very diverse, and in the face of different protection objects, you can choose the most suitable way to display them. For some intangible cultural heritage cultures whose living environment is relatively closed and whose popularity is relatively low, the cultural connotation and charm of some intangible cultural heritage cultures can be well displayed by means of filming documentaries, and the attention will be strengthened. On the other hand, there are many dissemination channels for film and television art works, including traditional media and online channels, and the audience includes all age groups, which can effectively disseminate intangible cultural heritage and attract more young people to pay attention to intangible cultural heritage.


## 3.2. The Source of Power for the Development of Cultural Industries

Intangible cultural heritage is a classic that has been precipitated in my country’s thousands of years of history, and it is worth recording and preserving. Film and television works of art can record and store intangible cultural heritage, which is conducive to the development and dissemination of cultural industry. It is a sustainable ecological development model [7]. At present, the common intangible cultural heritage has been displayed through the expression of film and television art, and there is still a lot of content in the intangible cultural heritage that has not been excavated, which is a field worthy of continued exploration. Taking the singing and dancing performances of ethnic minorities as an example, Miao Fei Ge, Mongolian Khumai, etc. have been widely disseminated, while Shui water songs have received little attention. As a relevant worker in the cultural industry, you should have a keen eye to discover uncarved rough jade, dig out the cultural heritage and spiritual quality behind it, and create more excellent film and television art works.


## 3.3. The Process of Film and Television Art with Intangible Cultural Heritage Elements

In today’s mass media era, we find that the creation and dissemination of intangible cultural heritage-themed films have become a good way. Compared with books, this form of film carrier is a more attractive means and is more in line with the general public [8]. In many film and television works, there are contents that involve intangible cultural heritage, such as the familiar “Human and Ghost.” From these film and television art works, we can summarize several characteristics of film and television in the dissemination of intangible culture:One is the mass media. In the art of film and television, the role of the user has changed. Traditional media users can only accept uniformly edited and reviewed information, without the right to choose independently, and users cannot share information with each other. Each user is independent and cannot communicate with other users [9]. However, in the art of film and television, users can choose to edit information independently, and users can communicate with each other in various ways and share information with each other. Everyone can create and disseminate information as long as they have internet-connected electronic devices.Second, the speed of dissemination is fast. Before the traditional media publishes news, it needs to go through the steps of editing, reviewing, modifying, and reviewing, and then it can be uploaded and published on the media platform. The efficiency is very low, and the information is often outdated when the information is released, the release cycle is long, and the timeliness is lacking. Different from traditional media, film and television art has a stronger timeliness, users can get the latest news at the first time, and in the network, the dissemination of news is spread in the form of power, and the receiver of information is also the disseminator of information. Information spreads explosively [10].The third is strong communication and interaction. In the art of film and television, each user exists independently and is connected with each other, and there is a lot of communication between individuals. There are various forms of communication, such as voice, text, and video. In the art of film and television, the information publisher can communicate with the information receiver, and the information receiver can directly participate in the convenience of the information, which can enhance the user’s participation [11].Fourth, content diversification is as follows: film and television art has a variety of forms. Users are virtual and anonymous in film and television art, and different identities are equal in film and television art, which makes the sources of information diverse and the content of information diverse. Because there are various message forms in film and television art, the content of film and television art is guaranteed to be diversified [12]. At the same time, film and television art also covers the functions of traditional media.Cultural heritage can also drive the economic level of some cities to a higher level. When some cities are faced with crises such as the depletion of urban resources, the development of the city is difficult, and the emergence of tourism can solve the urgent need. Tourism is green and environmentally friendly, which has a good effect on the recovery of the urban economy.


## 3.4. Difficulties in Applying Intangible Cultural Heritage Video Resources in Film and Television Art Creation

With the development of digital protection and video recording of intangible cultural heritage, the video and image resources of intangible cultural heritage have reached the level of big data. The video recording of intangible cultural heritage is real and objective. Video recording simultaneously records pictures and sounds. It is the first-hand valuable material for academic research such as anthropology and ethnology and has important archival research value [13]. Secondly, the video recording of intangible cultural heritage can express the theme from multiple dimensions: through different shooting angles, it can show the changes of the scene and record and express the cultural space and cultural background of the intangible cultural heritage in a three-dimensional, vivid, and complete way. Finally, through the processing and creation of intangible cultural heritage images, it has high artistic value and becomes an important way of intangible cultural heritage dissemination; traditional dissemination methods are difficult to adapt to the rapidly changing dissemination environment, and the dissemination of intangible cultural heritage needs to be relying on the power of video communication, through television, Internet, live video, and other media, the rich intangible cultural heritage resources will be widely exposed to the public in an intuitive form, and the public’s participation in the protection and inheritance of intangible cultural heritage will be improved [14].With the census and protection of intangible cultural heritage and the advancement of the digitization of intangible cultural heritage projects, various intangible cultural heritage protection institutions and workers have collected and archived various intangible cultural heritage video and image resources [15]. Figure 1 shows the structure of a typical intangible cultural heritage video resource. It can be seen from the figure that different intangible cultural heritage video resources show great unstructured characteristics.Figure 1
The structure of the intangible cultural heritage video.In the field of information resource management, the current archive-style organization method with documents as the knowledge unit has been unable to meet the needs of knowledge organization and management such as knowledge organization, retrieval, and service in the big data environment [16]. The semantic association between resource entities and domain knowledge with “knowledge element” as the logical unit has become an important development direction of knowledge management and resource management. However, in the field of intangible cultural heritage research, the theoretical research and research level based on knowledge element needs to be further deepened. In this paper, the unstructured intangible cultural heritage video data will become a structured intangible cultural heritage video semantic unit through the process of intangible cultural heritage video knowledge element extraction, video resource semantic annotation, and associated data construction and release, so that it can be better integrated into the creation of film and television art.


## 3.5. Methodology

Information organization is the ordering and quality of information, that is, using certain scientific rules and methods, through the characterization and sequencing of the external characteristics and content characteristics of information, to realize the transformation from disordered information to orderly information flow, so as to achieve scientific combination of information collection, realize effective circulation, and promote the effective acquisition and utilization of information by users. Information organization has the following: clustering, systematicness, dynamics, and multiplicity. From the perspective of dynamic development of information organization, the organization of intangible cultural heritage video resources can be divided into archival organization mode, metadata-based resource organization mode, and semantic organization mode. The idea and method of semantic organization emerged with the development of semantic web and knowledge organization and gradually became an innovative way of organizing information resources in various fields.


## 3.6. Organization of ICH Video Resources

For the rational organization of intangible cultural heritage information resources, first of all, it is necessary to clarify various data types in the field of intangible cultural heritage. As shown in Figure2, the data in the field of intangible cultural heritage can be divided into three categories: unstructured data, semistructured data, and structured data according to the degree of data structure and ordering [17]. Intangible cultural heritage information resources are mainly based on unstructured and semistructured data. Such data cannot be directly understood and utilized by computers, and the value of knowledge and data is often implied in such data. Through the process of organizing and integrating unstructured data, transforming it into structured and semistructured data, and providing machine-readable and processable data, it is one of the major efforts in the field of intangible cultural heritage digitization and the field of graphic archives in recent years.Figure 2
Common data types in the field of intangible cultural heritage.From the perspective of informatization, similar to the organizational model and development of information resources, the organization of intangible cultural heritage video resources has gone through the metadata organization method that describes the basic information of the video, to the data model of aggregating heterogeneous video resources, and to the integration of semantics. There is a process of organizing video content and domain knowledge by web technology at the knowledge level [18]. The unit of information resource organization has also developed from files to data objects to knowledge as a unit, representing archive organization, metadata-based organization, and semantic-based single-level information resource organization.


## 3.7. Ontology Model in the Field of Intangible Cultural Heritage

Ontology is an important technology in the Semantic Web technology stack, which refers to the interpretation and description of the objective existence system. It plays an important role in knowledge management, artificial intelligence, and semantic network and has been widely used in education, agriculture, tourism biology, e-commerce, and other fields [19, 20]. From the philosophical field, ontology is regarded as an objective description of the real existence in the real world; what role and role does ontology play in semantic organization? The role in the transformation from the real objective world to the computational model is as follows: ontology can be seen as a bridge linking the phenomenon model to the information model: the role of the ontology in the semantic organization of the ICH video is to provide a conceptual representation of the objects and their relationships in the ICH domain, and the second is to provide an information model for the semantic description of the ICH video data. As an organic combination of cultural form and cultural space, the management of intangible cultural heritage should not only pay attention to its manifestation but also pay attention to the time, space, ecological environment, and other factors of its survival and development. In order to realize the semantic description of intangible cultural heritage knowledge elements and their associated relationships, we first need to build a metadata ontology to accurately describe the core concepts in the field of intangible cultural heritage and the semantic relationships between concepts.


## 3.8. Intangible Cultural Heritage Video Segmentation and Indexing Methods

In the new information environment, the resource organization method with video documents as a unit cannot meet users’ needs for multigranularity knowledge because of its coarse granularity; intangible cultural heritage video files contain more fine-grained knowledge content, and intangible cultural heritage video knowledge elements can be fully described. A relatively independent video logic unit that accurately expresses the content of intangible cultural heritage knowledge is a fine-grained basic organizational unit in the organization of intangible cultural heritage video resources.Intangible cultural heritage video knowledge element is an abstract concept, but it needs to be treated as an entity object at the level of resource management. When using computer technology to process information, it is necessary to transform the abstract concept of intangible cultural heritage video knowledge element into a concrete data model [21–23]. According to the definition of intangible cultural heritage video knowledge element and the analysis of the main content of video knowledge element, this paper defines the intangible cultural heritage video knowledge element structure as three components: video knowledge element identification, attribute set, and relationship set, and its structure is shown in Figure 3.Figure 3
Structure diagram of intangible cultural heritage video knowledge.According to the above, the intangible cultural heritage video knowledge metastructure is expressed as(1)Vm=Id,<P1,V1,P2,V2,⋯,Pn,Vn>,<R1,O1,R2,O2,⋯,Rm,Om>.Among them,d represents the identification of the intangible cultural heritage video knowledge element, P represents the attribute set or state set of the video knowledge element, which is composed of various attributes of the video knowledge element, and y is the value or state of the video knowledge element attribute; ruler is the video knowledge element. The relation set of the element is composed of various association relations of the video knowledge element, and D is the object or instance associated with the video knowledge element.Intangible cultural heritage video shot segmentation and key frame extraction are the preprocessing process of video knowledge element extraction and resource semantic organization. Automated video shot segmentation can ensure the accuracy of video knowledge element extraction and reduce the workload of manual segmentation of video knowledge elements. This section mainly focuses on the video shot segmentation and key frame extraction methods. First, the structure of the intangible cultural heritage video is analyzed. Then, based on the local and global features of the video, the shot boundary is checked by combining the SURF algorithm and HSV. Finally, the segmented shots use the singular value-based entropy calculation method to extract the key frames of the shots.The most important step in the SURF algorithm is to construct the Hessian matrix, and the purpose is to generate stable edge points (mutation points) of the image, determine the position and scale of the feature points, and lay the foundation for the following feature extraction. For an imagef, its Hessian matrix is
(2)Hfx,y=∂2f∂x2∂2f∂x∂y∂2f∂x∂y∂2f∂y2.In order to maintain the scale invariance of the extracted feature points, it is necessary to first perform Gaussian filtering on the image when constructing the Hessian matrix. The expression of the filtered Hessian matrix is(3)Hx,σ=Lxxx,σLxyx,σLyxx,σLyyx,σ.The discriminant is(4)dH=∂2f∂x2∂2f∂y2−∂2f∂x∂y2.Use the positive and negative relationship ofd to classify all points and judge whether this point is an extreme point. When d obtains a local maximum value, judge whether the current point is brighter or darker than other points in the surrounding neighborhood point, which is determined as the key point. The SURF algorithm replaces the function value f with the image pixel X and selects a Gaussian filter. At X, the scale is as follows, and then the definitions of are
(5)Lxxx,σ=∂2∂x2gσ∗IX,(6)Lyyx,σ=∂2∂y2gσ∗IX,(7)Lxyx,σ=∂2∂x∂ygσ∗IX,(8)Lxxx,σ=∂2∂x2gσ∗IX.Since Lowe uses the DOG operator to simplify the LOG operator, which improves the extraction speed of feature points, therefore, Bay et al. proposed to use a box filter to replace the approximate value ofL in all directions, which is recorded as D. In order to reduce the error, the approximate value of the H matrix discriminant is
(9)DetH=Lxxx,σLyyx,σ−Lxyx,σ2=DxxDyy−wDxy2.The relationship among filter response lengthl, filter size L, group index o, layer index s, and scale satisfies the following conditions:
(10)l0=2o+1s+1+1,(11)L=3l0=3×2o+1s+1+1,(12)σ=1.2×L9=l03.The same method is used to process the template sequences of the other groups. Figure4 shows the filter size changes from the first to fourth groups: the scale space of the first group is 9×9, 15×15, 21×21, and 27×27; other groups increased similarly but doubled, 6, 12, and 24, respectively. To cover all scales, overlap occurs between groups, as shown in Figure 4. Figure 4 corresponds to the 9×9 filter template in the first group of scale space, and the scale increases sequentially from the bottom to the top of the inverted pyramid.Figure 4
Scale space of each group.
(a)
Otaves by scale space(b)
Filters in scaling spaceIf the determinant function of the Hessian matrix is denoted asHx,y,σ, the following conditions are satisfied:
(13)x=x,y,σT.According to Taylor expansion,(14)Hx=H+∂HT∂xx+12xT∂H∂xx.The extremum point can be obtained by derivation of the above formula, that is, the offset in three directions, letH′x,y,σ=0, and there are
(15)x⌢=−∂2H−1∂x2∂H∂x.If the value is greater than 0.5 in three directions, continue to adjust until the value in each direction is less than 0.5 and greater than 0.03, and then it is determined as a feature point.The transformation of the video lens is generally divided into a cut lens and a gradient lens. The cut lens is a direct switch between the two lenses, and the visual change is obvious. The gradient lens has the effects of fading in and out, dissolving, superimposing, etc., the transition between adjacent lenses is smooth, and the visual change is not obvious; as shown in Figure5, the gradient lens appears as a slowly changing trough on the characteristic point matching change curve.Figure 5
Schematic diagram of lens change detection on nonlegacy video screens.Both the shear lens and the gradient lens appear at the trough, and their values are abrupt points relative to a certain range of values on the left and right sides. In this paper, the method of window threshold judgment is used to find out the position of lens transformation. First, the boundary of each trough is judged, and the average value within the set window range on the left and right sides of the trough boundary is calculated. Then, compare whether the value of the trough is less than the standard deviation of a certain multiple of the mean value of the left and right windows, make a secondary judgment on the points smaller than the threshold according to the characteristics of the video, and finally, determine the lens change position.After the nonlegacy video shots are segmented, the extraction of key frames of the shots is an important step in video structure analysis. A key frame can reflect a frame of image of the key content of the shot and can represent the effective information of the shot. Through the key frame, users can understand the main content of the video at a glance. In this paper, we use the entropy calculation method based on singular value to extract the key frame of the lens, perform singular value decomposition on the image frame of the lens and calculate the information entropy of the singular value feature vector. Finally, the image frame with the largest information entropy is determined as the key frame of the lens. The establishment of the lens database provides a good index for the construction of the intangible cultural heritage video database, and at the same time, it provides thumbnail images for users to efficiently browse and find related video resources.


## 4. Result Analysis and Discussion

### 4.1. Ontology Model Construction of Intangible Cultural Heritage Video Resources

In order to endow the ICH video resources with rich semantic information and improve the concept expression in the ICH field, a standardized semantic information description model and a standard domain conceptual framework are required. Due to the different purposes of ontology applications in different fields, the content of the fields involved is very different, and there is no complete and systematic theory for the construction method of ontology. In this paper, when constructing the ontology of intangible cultural heritage video, it believes that the ontology building is an iterative process. Process is as follows: the process of ontology construction in the field of intangible cultural heritage is divided into three stages: preliminary demand analysis and data preparation, ontology structure design and construction, and later ontology storage. Among them, the ontology design and construction stage is subdivided into defining entities and levels, defining relationships and attributes, defining rules and axioms, defining instances, and an iterative process of ontology model testing and evaluation.


### 4.2. Intangible Cultural Heritage Video Feature Recognition and Semantic Annotation

By decomposing the intangible cultural heritage video structure, the granularity of video resource objects is made finer, and the knowledge organization is more in-depth. At the same time, the application of ontology in the field of intangible cultural heritage provides people with high-level semantic concepts in the field of intangible cultural heritage that can be commonly understood. Intangible cultural heritage (hereinafter referred to as “intangible cultural heritage”) as a form of existence is difficult to exist without the ontology of cultural heritage. Ontology form, existence form, and constituent element form are an interrelated organic whole. The existing form of cultural heritage, material cultural heritage (hereinafter referred to as “material heritage”), and intangible cultural heritage together constitutes the noumenon of cultural heritage. This paper takes the video resources of the national intangible cultural heritage project “Yunxi Qixi Festival” as an example, and through the analysis of the intangible cultural heritage video resources, and studies how to introduce the intangible cultural heritage culture into the film and television art creation through the analysis of the intangible cultural heritage video resources.As shown in Figure6, it is a histogram of the entropy value based on singular value of a certain video in the nonlegacy video, in which the green stripes represent the key frames of the shot, and the gray stripes represent the entropy values of other frames in the shot. With the help of MATLAB software, the multifeature-based shot segmentation method is implemented, the key frames of the segmented shots are extracted, and the index and thumbnail of the shot database can be established.Figure 6
Calculation result of lens key frame entropy value.Using the SURF algorithm designed in the previous chapter, the key frames of the video resource are identified and matched. Figure7 shows the correct rate results of feature matching using different methods. It can be seen from the figure that using the SURF algorithm designed in this paper and adopting the form of full constraints can effectively improve the feature point extraction and matching accuracy of video images.Figure 7
Feature point matching accuracy results under different constraints.As shown in Figure8, it is a schematic diagram of semantic annotation of a scene in the video resource of making Qiao Shi in the national intangible cultural heritage project “Yunxi Qixi Festival” video resource. It can be seen that the main content expressed by the shot is “On the seventh day of the seventh lunar month, in Shangjin Town, the inheritor Chen Xianmei is making smart food in the kitchen. The event of making smart food is part of the ceremony of ‘Please Seven Sisters’. People make smart food. , which means praying for ingenuity.” Through the association between video units and knowledge concepts, users can be provided with more background information about videos, and different video units can be associated with each other through a certain semantic concept.Figure 8
Example of semantic annotation of intangible cultural heritage video.After cutting the video and extracting key frames, the video clips and shots are given a unique Universal Resource Identifier (URI), and users can browse related video clips and shots through the URI. In the process of semantic annotation, the user selects semantic objects from the knowledge semantic database formulated by domain experts and describes the video in terms of people, events, time and place, objects, and context according to the content expressed in the video. When intangible cultural heritage needs to be used in film and television art creation, it is more convenient to integrate intangible cultural heritage into artistic creation by querying the database.


## 4.1. Ontology Model Construction of Intangible Cultural Heritage Video Resources

In order to endow the ICH video resources with rich semantic information and improve the concept expression in the ICH field, a standardized semantic information description model and a standard domain conceptual framework are required. Due to the different purposes of ontology applications in different fields, the content of the fields involved is very different, and there is no complete and systematic theory for the construction method of ontology. In this paper, when constructing the ontology of intangible cultural heritage video, it believes that the ontology building is an iterative process. Process is as follows: the process of ontology construction in the field of intangible cultural heritage is divided into three stages: preliminary demand analysis and data preparation, ontology structure design and construction, and later ontology storage. Among them, the ontology design and construction stage is subdivided into defining entities and levels, defining relationships and attributes, defining rules and axioms, defining instances, and an iterative process of ontology model testing and evaluation.


## 4.2. Intangible Cultural Heritage Video Feature Recognition and Semantic Annotation

By decomposing the intangible cultural heritage video structure, the granularity of video resource objects is made finer, and the knowledge organization is more in-depth. At the same time, the application of ontology in the field of intangible cultural heritage provides people with high-level semantic concepts in the field of intangible cultural heritage that can be commonly understood. Intangible cultural heritage (hereinafter referred to as “intangible cultural heritage”) as a form of existence is difficult to exist without the ontology of cultural heritage. Ontology form, existence form, and constituent element form are an interrelated organic whole. The existing form of cultural heritage, material cultural heritage (hereinafter referred to as “material heritage”), and intangible cultural heritage together constitutes the noumenon of cultural heritage. This paper takes the video resources of the national intangible cultural heritage project “Yunxi Qixi Festival” as an example, and through the analysis of the intangible cultural heritage video resources, and studies how to introduce the intangible cultural heritage culture into the film and television art creation through the analysis of the intangible cultural heritage video resources.As shown in Figure6, it is a histogram of the entropy value based on singular value of a certain video in the nonlegacy video, in which the green stripes represent the key frames of the shot, and the gray stripes represent the entropy values of other frames in the shot. With the help of MATLAB software, the multifeature-based shot segmentation method is implemented, the key frames of the segmented shots are extracted, and the index and thumbnail of the shot database can be established.Figure 6
Calculation result of lens key frame entropy value.Using the SURF algorithm designed in the previous chapter, the key frames of the video resource are identified and matched. Figure7 shows the correct rate results of feature matching using different methods. It can be seen from the figure that using the SURF algorithm designed in this paper and adopting the form of full constraints can effectively improve the feature point extraction and matching accuracy of video images.Figure 7
Feature point matching accuracy results under different constraints.As shown in Figure8, it is a schematic diagram of semantic annotation of a scene in the video resource of making Qiao Shi in the national intangible cultural heritage project “Yunxi Qixi Festival” video resource. It can be seen that the main content expressed by the shot is “On the seventh day of the seventh lunar month, in Shangjin Town, the inheritor Chen Xianmei is making smart food in the kitchen. The event of making smart food is part of the ceremony of ‘Please Seven Sisters’. People make smart food. , which means praying for ingenuity.” Through the association between video units and knowledge concepts, users can be provided with more background information about videos, and different video units can be associated with each other through a certain semantic concept.Figure 8
Example of semantic annotation of intangible cultural heritage video.After cutting the video and extracting key frames, the video clips and shots are given a unique Universal Resource Identifier (URI), and users can browse related video clips and shots through the URI. In the process of semantic annotation, the user selects semantic objects from the knowledge semantic database formulated by domain experts and describes the video in terms of people, events, time and place, objects, and context according to the content expressed in the video. When intangible cultural heritage needs to be used in film and television art creation, it is more convenient to integrate intangible cultural heritage into artistic creation by querying the database.


## 5. Conclusion

In today’s mass media era, we find that the creation and dissemination of intangible cultural heritage-themed films have become a good way. Compared with books, this form of film is a more attractive means, and it is more in line with the general public. Of course, many domestic films in our country are consciously involved in traditional culture or intangible cultural heritage. These films bring the audience into a traditional world full of art and culture with sincere emotion and ancient sense of picture. Aiming at the problem that unstructured intangible cultural heritage video resources are difficult to store and manage, this paper proposes an application model of intangible cultural heritage dissemination. The process of semantic annotation, construction, and release of linked data, etc. describes the video in terms of characters, events, time and place, physical objects, and context, making it a structured intangible cultural heritage video semantic unit, which can be better applied to film and television art in creation.



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*Source: 5448246-2022-09-02.xml*