City Imagination:Research On Nanjing Image Construction In Domestic Films Since The New Century

The development of the city has spawned the production of film art.The film takes the city as the object of representation and configures the city with images.The film text and the city culture complement each other and mirror each other.In the territory of urban film research,Nanjing once faced the dilemma of "aphasia".Until the new century,Nanjing was included in the video narrative.The related films imaginatively reproduced Nanjing on the screen.While constructing the urban memory carrier,it also Participated in the construction of Nanjing's public image and urban culture,showing the multiple orientations of Nanjing's space.As the vicissitudes of the "ancient capital of the Six Dynasties," Nanjing's image description is closely related to specific historical symptoms.The political / historical discourse on the Nanjing space has obscured the space of citizens' lives.In recent years,elite narratives have been dispelled by daily life experiences,and the living spaces belonging to the general public are no longer "absent",and the marginalized people in the bottom space are also squarely faced.As a spatial field of multidiscourse games,Nanjing's image text representation is fluid,highlighting the geographical space of geographical identity,portable cross-regional space,and heterogeneous heterogeneous space coexisting in Nanjing's image configuration,and Qinhuai River,The Ming Dynasty Wall,the commentary and other landscape codes jointly construct the plural image of Nanjing,projecting the discourse logic and cultural metaphor behind Nanjing 's image.The imagination reproduction of Nanjing city implies an emotional projection of historical imagination,with a distinct nostalgic meaning,which is a symbolic bridge between the past and the present.However,many nostalgic emotions in the images lose their spirit in the mechanized reproduction and become Cultural products for audiences to visually consume historical representations.The image construction in Nanjing is more or less left with the emotional resonance brought about by the traumatic memory of the Nanjing Massacre.The reproduction of the trauma by the image constitutes the profound collective cultural trauma of Nanjing City.The grand narrative of politics / history has created a national community and strengthened the collective identity by means of images.With the acceleration of the modernization process,the emphasis on individual survival has dispelled the discipline of collective identity by grand discourse,and modern individuals have fallen into the subject The dilemma of losing identity.How to write the identity of the city in the construction of the image has become an urgent problem to be solved in Nanjing.In the current image writing of Nanjing,when the city exists as a narrative background,the iconic landscape of Nanjing is only presented in the image.,Becoming an empty visual symbol;and when the urban system participates in the narrative of the image and becomes the creator of the film atmosphere,the regional culture of the city also presents an ambiguous character.However,the film can shape the city's cultural identity and affect the city's identity recognition.Just as Nanjing's image construction is still dominated by historical discourse,it obscures the expression of modern urban space,resulting in the "absence" of the modernity of Nanjing's image.It can be seen that in the process of writing the city,the image should pay more attention to the characteristics of the city's image,show the diversified image of the city,and strengthen the mining of the local culture,clarify the geographical identity of the image,and write the unique cultural temperament of the city,Shaping people's cultural memory of the city.