A Study On The Spatial-Temporal Narrative Of Shanghai Nostalgia Movies In Mainland China

Since the 1990s,in the social transformation and the historical moment of the turn of the century,the nostalgic wind began to blow continuously across both sides of the strait and Hong Kong,and Shanghai has become a hot spot for the creation of nostalgic films.This paper takes Shanghai nostalgia films in mainland China as the research object,takes literature research and text analysis as the main means to study the time and space narrative of Shanghai nostalgic films in mainland China.The thesis consists of introduction and text.The introduction includes research background,concept definition,research status,research content,methods and research significance.The text is divided into five chapters:the first chapter analyzes the origin and basic characteristics of Shanghai nostalgia movies,pointing out that the era of commercialization and globalization and the exploitability of old Shanghai culture are the origin;The basic characteristics of concession space are the alternative expression of old Shanghai space,the women as the subject of expression and the complexity of the composition of creative groups.The second chapter analyzes the time narrative strategy of Shanghai nostalgia movies from three aspects:theme,character and plot.The violence theme is strengthened by suspending time and setting up sub-suspense,and the tragedy theme is strengthened by the omission of time and the expression of the time experience of characters out of order.Based on the time experience of the character,it analyzes the enhanced time awareness of the characters and the shaping of the character named "time counterfeiter".Finally,it analyzes the structure effect of time logic on narrative and the arrangement effect of time depth on plot.The third chapter examines the spatial narration of Shanghai nostalgic films from three aspects:gender space,living space and eastern and western narrative space.With power difference in space and the repression and resistance of women,the gender space is heavy and repression,The active open upper western house space and passive open civilian residence space write the living space which is a mixture of things and the boundary between public and private is blurred;It clearly presents the opposite characteristics of Eastern and Western space domination and resistance,and they both have the common problems of the lack of authenticity and the lack of complexity.Chapter four analyzes the relationship between the spatial and temporal narrative of Shanghai nostalgia movies.The strategy of spatial temporal is to realize the meaning of time narration through the arrangement effect of time on the old Shanghai space and the reproduction of its spatial meaning.The means of spatial temporal is to realize the spatial narrative meaning by setting the regressive field to deconstruct the urban field,paying attention to the spatial details and juxtaposing the non-linear space.The fifth chapter makes an overall reflection from three aspects:artistic value,existing problems and future prospect.It points out that the artistic value lies in the extension of the narrative boundary of time and space by personalized image writing and increasingly rich narrative discourse.The existing problems include the homogeneity of narrative mode and the desire of space writing.It is suggested that the artistic creation of Shanghai nostalgic movies should be carried out by enhancing the artistic expression of life and paying attention to the nostalgic writing of reflection.The study of the spatial temporal narration of Shanghai nostalgia films has enriched the study of Chinese nostalgia films and the research paradigm of time and space narration to a certain extent.In the practical sense,some questions raised in the study provide thinking for the new development of Shanghai nostalgia films and the establishment of cultural consciousness and self-confidence of Shanghai.