Evolution Of Urban Space In Contemporary Chinese Films

Modern city and films are products of the industrial civilization, movies haveforged indissoluble bond of the city at the beginning of the birth. From the perspectiveof physical space on the form, is a modern city, traffic of people, goods, capital,information and distribution center. Seen from social space, urban population incommunities with traditional rural communities "acquaintances society" are different,called "society of strangers", and their social status is pluralistic, heterogeneous.20thcentury30o’clock times Chicago school sociology has pointed out that the city:standing in front of the building, see the same window, but behind the window is avariety of individuals or groups. The social formation of the city, is giving rise toincreasingly advanced material culture at the same time, also brought a lot of socialproblems and social conflicts, and possible ethical lapses, and even more vulnerable tocrime, most promising dark hidden places of the city. Precisely because, as a socialspace such a pluralistic and heterogeneous character of the city, given urban space oftheatrical and film, complex heterogeneous human experiments in urban communitieshas become huge natural Studio and film shooting, as when Italy framework proposedby advocates of new realism:"carried the camera on the street." This article is from theurban space and the sense of film space isomorphism proposed "film city" by name.Coordinates of the political, economic and social history in China, in Chongqing in1998after the crowning, become full of contradictions in China’s urbanization,modernization of social change with a strong representation of "living specimens"; itsunique natural and cultural geospatial dramatic structure are rich and "photogenic"activity. In this paper, from the perspective of "film city", focused on since2000inChongqing as the background of the film, main including "Life Show" under (2002,Jianqi Huo), and "Crazy Stone" under (2006, Hao Ning), and "Still Life" under (2006,Zhangko Jia), and "Curiosity Kills the Cat" under (2006, Yibai Zhang), and "the door"under (2007,Shaohong Li)and "Deadly Delicious" under (2008, Tianyu Zhao), and "ISay" under (2008, Yibai Zhang), and "Chongqing Blues" under (2010, Xiaoshuai Wang),and "Distant Thunder" under (2010, Jiarui Zhang), and "Money Make a Trouble" under(2010, Wandong Wang) ten film text, the author through an in-depth analysis of thesemovies on the narrative space of the city of Chongqing and the shaping of reality spaceisomorphism, sums up the directors of the evolution of film language of realism and perspective of the evolution of urban social space in China’s transitional period.