Topophilia-Space Turning Of New Taiwanese Film Since New Century

Since the beginning of new century,Taiwanese films have been exploring the local cultural characteristics which was not emphasized by public in the past,creating a national film revival tendency.Especially the release of “Cape Seven” in 2008 awoke cultural memory related to the land in people's mind.Since then,gravity offset phenomenon in space scenes occurs in a large number of positive and youth-themed movies;This indicates that the local residents transfer their focus from the modern urban area to rural area which is the nature of humanistic geography,forming 3 spatial turn narrative paradigms,namely “travelling around island” narrative,“leaving the island” narrative and “returning the island” narrative.This paper is divided into three chapters to construct the cultural and geographic forms of Taiwanese films since new century.The introduction mainly expounds the transboundary interaction between the theory of spatial turn in humanistic geography and the narrative phenomenon in Taiwanese films since new century.The first chapter starts with the "land complex" theory of Duan Yifu,the founder of humanistic geography.In addition,it clarifies the dialectical relationship between space and place in this field and proves that localization of the "land complex" theory is the nature to promote the enrichment of Taiwanese genre films.The second chapter summarizes three types of narrative manifestations of the spatial turn in the Taiwanese films since new century.Through classifying the context of the changes in Taiwanese films from early diachronic narration to spatial turn in the new century,it proves the influence of local social context on film creation.The third chapter analyzes the complicated dependencybetween people and places in topophilia based on the intensive reading of the film text.Moreover,it illustrates the fact that the “land complex” scene in the Taiwan film is different from the ideal theory of Duan Yi fu.The obfuscation in the recognition of Taiwan local identity is aggravated by the difference,while Taiwanese films seek a warm respond by using a positive topophilia narrative.