A Study Of Space Narration In Hirokazu Koreeda's Films

Speaking of contemporary Japanese films,hirokazu koreeda has become an inescapable director,not only winning the palme d 'or at the cannes film festival for his film the shoplifter,but also highlighting his unique spatial narrative style in his films.Taking koreeda's films as the research object,this paper explores the characteristics and significance of space in koreeda's films from the perspectives of cinematic space narration and social and cultural perspectives.The thesis is divided into five parts.The introduction part sorts out related research and related concepts,which lays a foundation for the in-depth study of hirokazu koreeda's spatial narrative.Chapter one firstly gives an overall grasp of koreeda's film creation.It points out that koreeda pays attention to spatial narration by summarizing the three aspects that kore-eda is good at selecting scenes of "home",spatial modeling of "original ecology" and image style of nature.At the same time,by analyzing hirokazu koreeda's films' spatial construction from "record" to "realistic" to "imagination",we can grasp the prominent feature of the integration of documentary and film attributes of space.In the second chapter,the geographic space in koreeda's films is divided into two types: family space and hometown space.Family space includes private space,public space and secret space.Private space is warm,public space is cruel,and secret space contains death,presenting the characteristics of family space in different ways.Hometown space refers to the hometown in the memory,the hometown in the memory is faced with disintegration,full of the lost and loss of the people.Family space and home space became the dramatic place for the creator to explore the social phenomenon and social problems in contemporary Japan.In the third chapter,social space in koreeda's films is divided into two types: the bottom space and the female space.The film's bottom space includes the material space,the spiritual space and the social reality space associated with the bottom group.Similar to the ground floor space,women's private space,daily life space and body,etc.jointly construct the narrative of women's space.In the whole socialized narrative space,intellectuals,deserters and women,as the representatives of marginal groups,bear the criticism of social inequality.Chapter four divides the imaginary space in koreeda's filmsinto two types: psychological space and ritual space.Psychological space is mainly divided into two levels: the psychology of the characters and the metaphorical space of the director.Ritualistic space focuses on the expression of emotion in form,including two aspects: play-in-play and allegory,presenting the basic characteristics of hypothesis on the whole.Both psychological space and ritual space focus on the deep exploration and excavation of the true and simple nature of human nature.