The Development Of Hangzhou Film From 2000 To 2020: A Spectacle Theory Perspective

The spectacle has been constantly hiding history while the real humanities show the history.Having obscured this century,the spectacle makes the development of images and consumption in full scale replace the well-rounded development of human.Despite of continuously unfolding researches on urban film,few researches on Hangzhou film can be found.This thesis attempts to sort out the development of Hangzhou film in the new century,so as to provide more possibilities for the study of urban film and regional film in China.At the same time,this thesis innovatively adopts the perspective of “spectacle” theory to analyze Hangzhou films,to understand the current situation of film and human,to provide a practicable path for the humanistic development of Hangzhou film art,enriching researches on Hangzhou film.The study takes nature and humanities in the regional space as the basic boundary to clarify Hangzhou film,defining the concept of Hangzhou film and comprehensively sorting out its development and evolutioand and narrative core.Guy Debord’s theorization of the society of the spectacle is the theoretical framework where literature review,textual analysis and case study are developed.“The society of the spectacle” is the logical starting point to present the development of theory on the society of the spectacle,and the production and dissolution of spectacle occurs in the development of Hangzhou film.Taking Hangzhou film since the 21 st century as a sample,the study examines the development,existence and content changes of Hangzhou film after the 21 st century from the perspective of spectacle theory,specifically analyzing in detail the “time”and “space” expressions in Hangzhou film,as well as the visual representation under the control of the society of the spectacle.The study also explores the humanistic power of culture and art as the force in “anti-spectacle”,and conducts an interactive examination of spectacle theory and Hangzhou film.In such in-depth dialogue between Hangzhou film and Western spectacle theory,a more intellectual and humanistic film aesthetics is expected to emerge,which will play an active role in guiding the development of urban film.