The Body And Modernity Of "New Town" In Cinematic Space

People come to the city to survive and flee the city for a better life."New town"(new town)is the only way for every city’s development process.It is more appropriate to translate it as "new town" and "new suburb" in the Chinese context.The reconstruction after World War II belongs to the scope of the new city,and the renewal of the modernization process It is also true that each city and country is located in a different historical and political background,and the appearance of the new city is also complex.In the modern society of China,the phrases such as "Pearl River New Town","Chongqing New Town" and "City New CBD" are gradually emerging,which have certain practical significance in sociology.The three spaces of the new city,suburbs,and nature are the spatial expressions of the return of the human body to the primitive nature of the group.It can also be seen that no matter after World War II or now,the same modernity motif about urban issues still exists.No matter the developed Western society,Even in developing countries in East Asia such as Thailand,"new towns",as a derivative phenomenon of urban problems,are gaining increasing attention among modern people.The study of this space also seeks a newer narrative for the film creation of the younger generation in China.space and more diverse expressions.In the new city,people have a blank space to control the urban public space buildings built of stone and concrete to shape their own spiritual culture.This article is based on Lefebvre’s spatial turn to interpret the new city space.At the same time,Foucault’s right to space Relational theory is also the reference dimension of the theory in this paper.The operation of micro-power shapes the empirical space.The anxiety we are in at the moment has the most essential and direct relationship with the space.The spatial representation hides a whole set of their own film discourse expression system that is closely related to the life experience and the creative environment in the changing times.Through specific film cases,Debord’s landscape society and Foucault’s body politics are used to analyze the existence of the onscreen subject in Xincheng,and then through phenomenology,it is explained how the offscreen audience obtains counter-involvement in the image space of Xincheng,and finally explores its Guiding significance for realistic creation.This article is divided into four parts.First,the boundary of the "new city" is defined by Lefebvre’s theory of space production.What is the "new city" space in the film? On this basis,the relationship between "space-body" is discussed.Therefore,the second part,based on architectural phenomenology,places the field of vision in the new city in the screen space,that is,how the image space is constructed,from the new city architecture in the film The aesthetic connotation,movement axis,and parallax perspective of the construction argument establish the connection between people and the spirit of the place,and then in the third part,through the physical analysis of specific films,from the perspective of film phenomenology,the physical expressions of different film new towns are analyzed.Analyzing the body from the perspectives of gender,identity and landscape,at the end of the fourth part,the body expression guided by the construction of the previous film space serves as the basis and premise of film creation,and comes down to the commonality-what modernity motifs provide contemporary our creation and practice.Therefore,the path of this paper is from "real space-image spacereal space" to explore the relationship between the space and image of urban architecture,which leads to the interpretation of practical creation.