Study On Space Narration In Films Directed By Zhang Yang

With films such as Spicy Hot Soup,Shower,Yesterday and Paths of the Soul,Zhang Yang has gained a good reputation both at home and abroad as well as obtained a good box office in the film market,making him one of the most influential sixth-generation directors in China.However,current researches on Zhang Yang's films mainly focus on cultural pursuit,image style and theme presentation.Few of them explore the spatial writing charm of his films from the perspective of film narratology.Based on Zhang Yang's film creation process and with film space narratology as the theoretical support,the paper combines the special art form of films to study Zhang Yang's films from several angles,i.e.the spatial elements,spatial types,spatial writing and character modeling of Zhang Yang's film narration.In the introduction part,the concepts of film narration and spatial narrative theory are firstly clarified through literature review.Secondly,narrative space is defined under the category of film discourse.Finally,based on the literature review on the current situation of researches on Zhang Yang's films,the paper expounds the research significance,research background and research aim of taking Zhang Yang's films as the research objects.In the first chapter,with some of the spatial elements in Zhang Yang's films as the main research objects,the paper explores the role played by the five elements that make up urban space on the formation of narrative space in Zhang Yang's films based on Kevin Lynch's theory of “city image”.In the second chapter,starting with the subjects of the images,the paper analyzes and classifies the spatial forms of narration of Zhang Yang's films,and explores the completeness of his films under four different narrative structures,i.e.the “puzzle structure”,the “chain structure”,the “Chinese box structure” and the “orange slice structure”.In the third chapter,the paper mainly discusses the importance of character modeling in a narrative work,and probes into the inner connection between character image and spatial writing in Zhang Yang's films from the perspective of “spatial writing”.In the last chapter of the main body,the paper focuses on how Zhang Yang's open consciousness breaks through his narrative space,and explores the specific methods and techniques for “auditorymodeling to supplement spatial image” and “realistic space to break dimension wall of the in-painting scene” in Zhang Yang's films.In the end,the paper summarizes the predicament and prospects of space narrative approach in Zhang Yang's films.