Research On Narrative Space Of Homegrown Disaster Film In The Past 20 Years

The research object of this article refers to the film based on natural disasters,man-made disasters,and fantasy disasters produced by China and directed by China from 1999 to 2019.As a type of film,the disaster film has a very high box office value and audience with a shocking visual impact and entertainment effect,and has a very high commercial and artistic value.All along,due to various reasons of domestic capital and technology,domestic disaster films are different from the visual large-scale model of Western disaster films.They follow the path of Chinese localization and gradually explore a disaster film model suitable for China's National conditions.In recent years,It show a good trend.But the space problem of the film has also become a hot topic in the academic circles in recent years,which has great research value.This paper takes the disaster films made in China in the past 20 years as the research object,takes the narrative space of the films as the perspective,and takes the space theory of the same thinkers as Masaier maerdan,Ba Zan,and Andre Gaudreault as the reference,and draws on the research results of the academic circles on the issue of narrative space in recent years.This paper analyzes the narrative space of disaster films in China.Narrative space is an important means of artistic creation and cultural communication in films.This article analyzes and discusses from three aspects: the artistic representation,artistic characteristics and cultural implication of the narrative space of the disaster film.The first chapter mainly analyzes and discusses the variety,shaping and spatial narrative expression of narrative space in disaster films.The second chapter mainly describes the characteristics of the narrative space of disaster films in China in the past 20 years.They are discussed from the aspects of space,the artistic expression of space,the pursuit of "circle" in narrative space,and the metaphor and symbol in space.The third chapter mainly analyzes the cultural implication behind the disaster film narrative space,analyzes the collective spirit and individual spirit of the Chinese people in the face of disasters,as well as the domestic feelings reflected in the space and the review of the relationship between heaven and man inspired by the disaster film.