The Phantasmagorias Of Urbans:Spatial Aesthetic Study Of Chinese Urban Films Since The 1990s

The film was born from the urban,and with the development of it."Urban" is a concept with dual meanings of sociology and aesthetics,which is not only different from the local way of life,but also has its own unique aesthetic implications.Since the 1990s,the urban films with real modern consciousness have shaped a new urban space with artistic "Phantasmagorias ".This " Urbans Phantasmagorias "presented by the film not only refers to a new urban experience and aesthetic experience,but also relates to a series of issues,such as film discourse,capital and urban space production.In view of this,this study takes the construction of modern urban consciousness since the 1990s as the core to investigate its influence on Chinese urban films,and how to present the reality of the city through urban reproduction and imagination,then constructing the urban phantasmagorias with aesthetic significance.At the same time,this study notes that it has become a research trend to reassess the urban culture from the perspective of interdisciplinary "space" in the context of the current research on the "space transfer" of the humanities and social sciences.In this study,it is believed that the theoretical perspective of "spatial aesthetics" and the study of Chinese urban films can precisely become a new thinking direction.Based on this,this study focuses on the aesthetic perspective of spatial aesthetics,combined with the analysis and investigation of urban cultural context,the presentation of urban space,the forming and shaping,and the aesthetic implication of urban charm image in urban films since the 1990s,also include the evolution of urban cultural representation brought about by this study.This study mainly discusses from the following aspects:First of all,the theory of spatial aesthetics.The introduction introduces the current situation of space transfer and urban space aesthetics,and then defines the concept of urban film with urban consciousness as the core.Second,the new space of urban film production in the 1990s.On the basis of relevant theories,this paper in combination with the local context focuses on the development of Chinese urban films in the 1990s,including their historical continuity and new changes,the external policies,market space and internal social cultural space of film production,in order to emphasize the significance of the 1990s in Chinese urban films.Thirdly,the spatial representation of urban films and urban cultural space.Through the holistic view of Chinese urban films since 1990s,to clarify the urban films and urban space image generated by the inner link and its role in the formation of urban cultural space:the urban space represented by image intervention is a mixture of reality,living and fashion,the image contains the people’s understanding of urban modernity.The fourth,the urban films and space aesthetics.Based on the understanding of the representation of urban film space,this paper expounds the relationship between the film and urban from the two dimensions of time and space,and then discusses the transformation of spatial aesthetics and the generation of aesthetic meaning of urban film through the shaping of urban phantasmagorias.The fifth,the aesthetic significance of the construction of urban image by urban films since the 1990s is divided into categories.This part mainly discusses the aesthetic significance of Chinese urban films in the expression of urban space.This study holds that in the spatial expression of urban films since the 1990s,the traditional and modern aesthetic concepts overlap,describe the real urban space of this period appropriately,the highlighted poetic space embodies the aesthetic experience of urban film space.Then,along with the process of urbanization,the sense of humanism was gradually highlighted.Therefore,the urban films greatly expanded the imagination of urban space,and reflected the aesthetic significance of existentialism in their spatial observation of the living state of urban ordinary people.With the continuous deepening of urbanization,the relationship between capital and space production is getting closer.Under the guidance of contemporary urban aesthetic cultural logic,new urban films mostly express various aspects of real urban space with spectacle space,which truly reflects an alienated"imagined" of urban space.In this part,representative films are selected as cases for specific text analysis to supplement and enrich the discussion.In the last part of the paper,the relationship between urban film and urban aesthetic construction is summarized and extended,and the possible ways for urban film to participate in urban aesthetic construction are put forward.This study holds that with the gradual departure of "the native soil society",Chinese urban films have demonstrated their unique aesthetic significance in observing urban reality and constructing the urban culture.It is possible and feasible for urban films to participate in the construction of urban aesthetics.