The "Spectacle" Change Of Chongqing City Movie From 2002 To 2019

Since the film was identified as a cultural industry in China in 2002,it has continued to develop steadily.In 2010,the box office of Chinese movies exceeded the 10 billion mark for the first time.Today,it has become the second largest film market in the world after the United States.As a "topic movie" in the domestic film market,Chongqing City Movie attracts a large number of viewers and industry funds in the past 17 years.The question is what kind of changes have taken place in Chongqing City Movie under the influx of funds and flows.On the one hand,for the media industry,what kind of positive or negative effect in this change? On the other hand,for the study of media culture and communication theory,what kind of culture does this change represent,and whether it can make new interpretations and annotations for some classic theories.This article divides the 17 years of China's film industry from birth to development into two stages which put 2010 as the dividing line,and selects the Chongqing City Movie in the top ten of the box office in the two periods for comparison.Taking The Scene Function Model as the theoretical support,the scene is used as the analysis unit,and the number of scenes,the scene duration,the kernel function scene(two variable values),the satellites function scene(three variable values),and the medium wonders are set according to the research purpose of this paper(five variable values),Chongqing concrete landmarks(11 variable values).Using the content analysis method,20 Chongqing city Movies were converted into coded data by means of film pull,and put into SPSS for statistical description and T test to compare Chongqing City Movie in two periods.The analysis results show that the difference in the number of movie scenes in Chongqing City Movie between the two periods is not significant,and the average duration of the scene is significantly different;In the second period,the kernel function scenes of Chongqing City Movie accounted for significantly less than the first period,but the environmental description scenes were larger than the first period;the pornographic and violent wonders in the medium wonders were replaced by diet and advertisements in the second period.The total number of landscapes and the concrete landscape of Chongqing,such as Hong-ya-dong and Light Rail,have significant frequency changes in the films of the two periods.The above conclusions show that there has been a “Spectacle” change that is worth studying in The Chongqing City Movie.The word “Spectacle” has a detailed exposition in Guy Debord's ——La Société du spectacle.Through the study of theory,we can find that the “Spectacle” change of The Chongqing City movie has positive and negative for the film industry.On the positive side,the Spectacle from “owning” to “appearing” has increased the number of movies,the box office has soared and created a tourism landscape to extend the industrial chain of the film;The conscious "performance" of the landscape has changed the image of Chongqing's vulgar and lustful city.On the negative side,the landscape has become a “commodity”.The decline in the proportion of the kernel function scene reflects the disappearance of the local story in Chongqing.The increase advertisements probable means the movies become the attachment of advertisements;The solidification of the landscape may also create different degrees of prejudice against the film industry and the city.In the past domestic research,most of them expressed concern about the development of Spectacle Movie.In " La Société du spectacle ",Guy Debord thinks that the Spectacle dominates the audience by hiding history and eliminating logic,so that the audience loses their thinking and becomes slavery in the colorful "spectacle ".However,after reflecting on the theory of l " La Société du spectacle ",this paper believes that such misunderstanding comes from the misunderstanding of the concepts of “spectacle” and “history”.At the same time,it is believed that the extension of the visual landscape cannot be simply equated with the decline of the story narrative.The film under the trend of “landscape” focuses on the change of visual enjoyment of the audience and is completely in line with the basic logic of the film.From this point of view,the “Spectacle” change of the film has its own value.The film industry under “Spectacle” is not the threshold for losing paradise.Guy Debord should not be bothered by the popularization of new technologies.The film did not transcend the general law: it obeyed the logical and objective laws in a way that was feasible under the technical and social conditions of the film at the time.