Human Geography Interpretation Of The "Topophilia" In Zhang Ming’s Films

The academic research on Zhang Ming’s films has touched on the relationship between Zhang Ming’s films and Wushan,but the perspective mostly focuses on the aspects of life narration and cultural landscape,and rarely expounds the structural correlation between the unique physical geographical form of “Wushan” and its film language.From the perspective of “topophilia”,this paper explores the significance of Wushan in connecting Zhang Ming’s cognitive experience with its image structure and aesthetic temperament,and expands the existing paradigm of “Wushan landscape”.The basic characteristics of Wushan’s spatial structure and image structure were refined,and the ideological and emotional and aesthetic interests under the influence of natural and human geographical characteristics were synthesized.The presentation and significance of the emotional structure in the image language and narrative organization in Zhang Ming’s film “topophilia” was condensed.The introduction of this paper clarifies the research questions,significance,and research status at home and abroad.The first chapter illustrates the interaction between Zhang Ming and Wushan,summarizes the topophilia for Wushan in Zhang Ming’s films.Next,under the influence of psychological structure/experience mode in the complex,how the image language shapes three typical spatial forms,revealing the corresponding human-local relationship.The shading and sheltering relationship of the depth dimension: from the weaving and twisting structure of the Wushan space,this paper discusses the use of long tracking shots in Zhang Ming’s films and explores the expressions of the relationship between characters,the inner emotions and the spatial emotional experience of “search”.The upper and lower hierarchical structure of the vertical dimension: based on the geographical characteristics of Wushan,this part analyzes the layered setting and scene scheduling in the film,and discovers the ghostly perception dimension of local nostalgia in the temporal and spatial expression.The communicative structure of horizontal dimension: the cloud-wrapped natural environment between Wushan and the river that separates the two sides affect the overall spatial pattern constructed in Zhang Ming’s films.In addition,the audio-visual language initiates the existence of multi-dimension under the atmosphere of spirits and ghosts created by clouds and mists,breaking the traditional concept of binary opposition.The last part explains the influence of Wushan’s geographical environment on national culture,as well as the concentrated expression of ethnic and local cultural characteristics in Zhang Ming’s films,and responds to the expression of the cultural emotion of the “topophilia” in Zhang Ming’s films and the formation of mysterious image temperament.