Hangzhou Images:Film City And Cultural Imagination

Hangzhou is famous for its incomparable natural landscape and the so-called "Jiangnan characteristics" which combines the city scenery and the legend of the millennium history style. As in visual production perspective, those features has been embodies in films by Chinese directors rely on the objective existence of cultural resources and creation, as well as their own unique understanding and aesthetic perception, exhibit Hangzhou’s diversified regional culture and city images, reconstruct the aesthetic world of cultural geography of Hangzhou. Based on the culture geography interpretation perspective, this thesis selects typical Hangzhou movie texts from Chinese film history, such as "The Boatman’s daughter"(1939, Shen Xiling),"The Man does not Bother about Trifles"(1956, Lvban),"A Fair Girl"(1983, Lu Jianhua),"Sui Sui Qing Ming"(2011,Xiaofeng)etc..., with the close text analysis, to obtain the regional characteristics, cultural meaning and aesthetic value of Hangzhou image.The first part of this thesis mainly combs the history and the transmutation of aesthetics of Hangzhou images. As a beautiful, romantic, poetic culture space, Hangzhou has been continuously imagine and constructs in the history of Chinese film. Hangzhou image has its own unique history and aesthetic features. The period of early Chinese films, Hangzhou image highlights the social critical realism attitude, focus on musical narrative and West Lake landscape modelling function. In the period of "New era", Hangzhou image through a transformation, and started towards the diversified theme style video conversion, appeared to have educational meaning youth themes of the film, the revolutionary history theme movies and highlights the local culture of Hangzhou traditional costume film. In the new century, the development trend of Hangzhou image fusion with multiple, with Hangzhou as the background story of the commercial film and literary piece construction about "Hangzhou imagination " traditional and modem pluralistic cultural ecology.The second part of this thesis mainly analyzes the image of Hangzhou’s creation characteristic and aesthetic characteristics:including space configuration and gender configuration. On one hand, as distinguished from other regions of the film, Hangzhou image creation of general rooted lineages Hangzhou area, show a strong ethnic characteristics of the natural ecological landscape, which mainly focus on West Lake and Xixi landscape. Many films were committed to appear on the screen of a full of natural breath, southern charm, culture developed the image of Hangzhou, conveys the modern pursuit of Chinese culture has a long history of natural aesthetic tradition of mind and emotion, which is the image of Hangzhou most move the audience. On the other hand, the female is the link Hangzhou and the important role of literary imagination. Hangzhou ’s traditional female imagination, has affected the Chinese film in Hangzhou’s cultural imagination. On one hand, the White Snake, lovers and other referent Hangzhou female myth has been adapted into a film; on the other hand, to the surface of history of Hangzhou image sequences are mostly female narrative text of the role as a film.The last part of this thesis mainly from the cultural and geographical perspective of extracting visual Hangzhou cultural characteristics and aesthetic quality, further reduction of Hangzhou cultural territory and movie scene."Jiangnan region of rivers and lakes and image system" are introduced in the image as a paradigm of the Jiangnan style, with pavilions, white walls and black tiles as the representative of the regional space and climate characteristics;"classical and romantic place spirit" mainly discusses the film Hangzhou "aura", folklore textual and more charm video are constructing a well-organized and identification system; Finally, from the aesthetic character analysis of Hangzhou image aesthetic connotation, mainly day-to-day aesthetics leisure meaning and poetic survival ideal, especially the charm of Longjing tea images show Hangzhou’s secular elegant taste and culture connotation of leisure aesthetics.The existing Hangzhou image creation lineage is the city of Hangzhou history and real life text audio-visual sublimation, building the difference in exotic image aesthetics. Hangzhou is emerging as a new film city, the cultural identity and image construction and communication of Hangzhou still needs the creative power, the commercial capital, management level and other multidimensional efforts.