After 1997, The Hong Kong Film Space Construction

Spatial narrative is a common phenomenon in any narrative film, includingnarrative space. But it has not given full recognition and attention, and in-depthpractical study of narrative theory most about the time, the emphasis on narrativestructure constructed in the time series, ignoring the role of space. The late1990s, a series of theories of space researchers Lefebvre, Edward Soja, DavidHarvey, Sharon Zuo Jing, Jameson, makes space for leading to a major academicimprovement, provides a theoretical support for Urban Studies of the social spaceperspective, since space concept in the narrative is concerned about the film astime and space art, space is even more vital status and role which should be paidattention to, and research space in the narrative dimension.Start from the perspective of narratology, the use of spatial theory, toexplore and study the construction of space of Hong Kong Film, and how to createthe Post Ninety-seven Period, trying to carrying out the theoretical exploration,the film narrative space as the object of study, after 1997, the Hong Kong Filmsamples and explore the different spatial experience in different space, bringingthe audience to the cultural phenomenon of the show since the 1997 Hong Kong filmspace, and demonstrate the development of Hong Kong films.This thesis is divided into five chapters.First,“space and narrative in the movie”, it introduced the history of thedevelopment and steering of spatial theory, followed by discourse category of thespace of narrative content and narrative space in the functional level. That: thenarrative space is directly presented in the film for carrying the story of theaudio-visual space image, and space for narrative refers to the use of space tothe narrative course of conduct, which includes aspects of two levels: First, thecreator of the work on the selection, styling, performance and portfolio of thestory space, thus forming a film’s narrative space. Two means of film narrativespace of narrative and narrative space selection and handling of the story,characters, plot and narrative structure of the image or constraints. Thus, the narrative space of the film contains the results of spatial narrative, andtherefore the narrative of the film space must resort to the film’s narrativespace.Second, the“Space history”of Hong Kong Film, it is an overview of the filmsince the beginning of the rise of Hong Kong to the development of peak, and thenthe decline of cultural experience presents the characteristics of differentperiods of the space is divided into three time periods to explore Hong Kong filmsand Hong Kong Film have some narrative space reasons, and briefly introduced thespace of the different development stages showing: Shaw during the boom of the“country”Imagery in the 1970s and 1980s, pioneering the“city”image of theGolden Harvest film, as well as Post 97 times space variation of the Hong KongFilm“country”and“city”.Third, from the formation of narrative space and construct as the startingpoint to analyze the characteristics of the space constructed in this period, theHong Kong film, co-production film integration, stick to the local Hong Kong-stylespace. Then it combined the representative works of Post 97 Hong Kong movies indepth.Furthermore, it discussed along the previous chapter, put the space experienceto the audience as the main discourse, and in-depth to explore the phenomenon ofcultural highlight in this space experience on the Hong Kong film, it also madesome scenes in space which is extremely corresponding cultural phenomenon, as wellas their relationship with the film narrative illustration. A two-level discourse,one is the recognition of their identity in the Hong Kong Film, to process ofintegration, the other one is the reconstruction of the order under power.Finally, the Post 97 Hong Kong movie had a ten years development trend, andit would be a summary and outlook of the way out to Hong Kong Film.To study the Hong Kong film from the perspective of space, it will combinethe narrative of the film’s narrative space and space and spatial experience andimage, with the theoretical value and practical significance. Based on theanalysis of narrative space, the Post 97 Hong Kong film as text, from a number of films selected to represent the meaning, to explore the narrative space andthe space narrative, analyzed its spatial modeling subsurface of the“inner storyspace”and“experience”space, and on this basis, the development of Hong Kongfilms in recent years to sort out, in order to its spatial narrative, the experienceof Hong Kong film constructed from different types of imagination, and itillustrated the challenges which faced after the special cultural history.