| The illustration of constructing underlying space about Chinese early films(1905-1937) is to explore the focus and image, which early movie directors pay attention to. This paper attempts to discuss how the early Chinese films interpret the functional role and significance of shanghai, as a landscape, in the process of modernization from the perspective of the underlying space, and then reveals deep narrative strategy of the audio-visual language and meaning construction. The perspective of this research will be inevitably at the expense of clues and context of the development of the film, but see the early Chinese film as a whole, in the form of putting forward questions. Based on the analysis of specific problems, the conventional thinking of early films is restructured, and the focus is on nationality, gender, power and ideology etc. as the key questions under discussion. Therefore, analyzing China’s early films again, the paper highlights the significance of underlying space, from the existence of the real space to construction of imagine space, from audio-visual language image space to the characters’ spiritual space. To sum up, taking early films as the main objects for exploration, this paper points that the film production is closely associated with the underlying space construction, and especially the historical process of underlying spatial construction and the characteristics of the present age have become important issues as discussed in this paper. Based on the theory of space, the paper rethinks the interaction between space and film text as well as images to explore the related issues of practical characteristics of underlying space and space construction, and then lays the theoretical foundation for the link between underlying basis and early film production.The chapter one will mainly discourse upon the overall features and aesthetic characteristics of the underlying spatial structure of early Chinese films to have a restricted view about grass-root consume and grass-root life in the binary opposition between city and rural area, oneself and the others based on the analysis of prominent the grass-root consciousness in the early films. It will especially focus on delivering individual experience at the same time and trying to expand grass-root narrative model. The chapter two will mainly discuss the commonly visual space elements in underlying space in the early films which mainly includes villages, cities and its blocks, neighbourhoods, shanty towns and prisons various spatial landscapes to show the life condition of grass-root under the historical context and ideology and spirits it contained and to dig out its unique cultural connotation. The chapter three will investigate the underlying building image in the early films and explain the relationship between space and power in them. It will focus on the mirror image created by the early films in the aspect of underlying space to reassess the image-building of rural peasants, population in the bottom of the city society, immigrants and female, therefore to understand the close relationship between underlying space and Shanghai culture. The chapter four mainly elaborates the underlying space landscape in Chinese early films written on the construction of the national community supporting stable and harmonious social order, and in order to confirm its cultural identity, especially in the left-wing film with a great influence as the main research object, related to other images of the same topic, under the analysis of the special period of space construction and cultural production, especially to interpret the meaning of the underlying space construction and the relationship between the power production. The chapter five will discuss the close connection between the reconstruction of urban space and productivity of power, describe the modernistic spectrum characteristics and mark the coordinate position that movie in modernistic urban space production to provide a unique visual angle as reference to further understand the relationship between movies and mod ernity.Though research, it is concluded that city, which appeared as a spot, is doomed to give its so many buildings some typical symolized meaning, and finally, these symbols will become the standards to distinguish the different social bracket and establish or even intensify the differences between those social classes, therefore, it will be the important method and recessively dominant power in class rule. There are always different class roles in movies who are active in different space, while these different enviroment hint people’s different opportunities and fates. The immigrants who were influenced by the industrial revolution around Shanghai towns were forced to move from countrysides to cities. However, they didn’t adapt to urban life. Although they made great contributions to the city’s establishment, they didn’t get the equal rights to share the civilization achievement of the city. In this part, there is no doubt that spatial structure plays a very irreplaceable role. And it is the powers and domination between powers that combine the bottom groups and special allocation.China was facing an unprecedented disaster because of capitalism expansion. Powers of the scramble and occupation for space is becoming a dilemma what the Chinese nation was facing. It’s helpful for people to realize deeply the space crisis and the loss of state sovereignty by showing national fate from the space perspective. Space fission became the topic and object of cultural production and representation. The national space recombination also became the focus of cultural space representation. As an important cultural representative, the early movies have become an important way and means in which arouses national awareness, reinforces national self-identity and builds national space. At the same time, on the screen the construction of national space has an influence on the creation and production,resonating the creation of early film with the appeal when the nation is in trouble. As a medium to rouse people’s common national imagination, films have revealed that space has become the tool for government domination by the construction of space. It has roused people’s strong awareness to land and sovereign struggle, which strengthens national feeling, strengthen national cohesion and the sense of personal identification. With nationalist feelings, early films achieved the spreading of ethnic theory, the reinforcement of national awareness, the building of national confidence, and the firmness of national belief by impacting the construction of rock-bottom space. Thus, it is the transmission of national awareness and reproduce of national space that become the theme of the focal point of early films. |
