| This paper focuses on the "nostalgic" movies in the past 20 years since the new century,and studies their spatial representation.Specifically,in the aesthetic system of nostalgia,the paper focuses on the film space,and classifies the space presented by "nostalgic" movies,that is,it makes a case study of the space presentation mode,characteristics,causes and nostalgic feelings conveyed by "nostalgic" movies from three dimensions: regional space,collective space and national space.And try to differentiate and analyze the concept of "nostalgic" movies.This paper is mainly divided into four chapters:The first chapter is the introduction,which defines the research background and related concepts.The wave of nostalgia in film art and other fields at home and abroad is one of the starting points of this thesis.Secondly,it is the space background of academic research,and space has become one of the most important scales to measure modern society.Scholars,such as Lefebvre and Foucault,accelerated the spatial turn of social theory research,and this paper was launched under the inspiration of these two backgrounds.Because the concept of "nostalgic" film is vague to some extent,this paper defines "nostalgic" film by using its media attributes,and holds that "nostalgic" film is a medium to convey nostalgia,which expresses nostalgia by constructing the past in images and referring to the past in narration.The second chapter is the urban image of regional space,which mainly analyzes the nostalgic space with "city" as its main axis.Beijing used to be ancient and heavy,while Shanghai was trendy and dreamy.Around the space of the two big cities,there are countless small towns,and the wandering between cities has further deepened the nostalgia,resulting in all kinds of melancholy related to hometown and other places.Outside Beijing and Shanghai,the movement of the subject caused by modernity is a spontaneous behavior,while the spatial displacement in a special era belongs to the passive "exile" of the subject.The third chapter is the image expression of collective space,which involves three typical nostalgic spaces: art troupe,factory and campus.Through the discipline of the "body" and the class nature of the space itself,the space of the art troupe presents obvious paradoxical attributes,and this paradoxical attribute becomes a "good medicine" for directors to repair their emotions and look back on the past.At the same time,its "image filter" has become a spectacular consumption object for younger generations.The factory space symbolizes the loneliness and struggle of workers under the transformation of the times,and the reconciliation after the contradiction between the old and the new.Campus space shows the post-80s’ group’s tribute to youth and personalized expression.They seek a means of identity and healing the real trauma by reconstructing the space in the images.The fourth chapter is the image carnival of homeland space.This chapter discusses two types of space composition modes: "juxtaposition collage space" and "ritual space".The subject of nostalgia in the film rose from a certain group or individual to all members of the nation.Through different ways of space construction,it remembers the glorious years of a country;Under the impact of COVID-19’s "epidemic situation" and globalization,these works call for a recognition of national history.All in all,this paper studies the "nostalgic" films since the new century from the perspective of space,hoping to further expand the research dimension of this kind of films and provide some reference for the creation of this kind of films in the future. |
