| “Palace” is the necessary space figure for recent years' Chinese historical images, especially for the palace films. At present, the only palace left in China is the Imperial Palace in Beijing. Alth ough it was the residen ce of e mperors in Min g and Qing dynasty, the building itself contains stable cultural concept of more than two thousand years, and its architecture paradigm has distinctive ideology. It is the embodim ent of the will of Chinese im perial power. Different from traditional opera's the historical concept and technique of e xpression, the Hongkong production Palace secret history has brought “Palace film ” back to the m ainland in 1948, it also put the figure of palace onto the screen for the first tim e. Been finished in the photography studio, the film is no clever than o ther contemporary films, but it laid a narrative tone for the Qing dynasty play to enjoy the real palace shooting conditions in 1980 s. A series of Qing Palace fil ms, such as The Burning of Yuan Ming Yuan, Behind the Screen, The Empress Dowager, had followed the base of Palace secret history which is the contradiction between Em peror's narration and Ci Xi' s narration. Since then, the imperial palace got a m ore artistic expression as the space figure of em peror era. However, because the core character of “late Qing dynasty narration” was fe male ruler Ci Xi, the accompanied existed space were more about Mountain Resort, the Summer Palace, Beihai and the “T emple” “backyard” “wing” of Forbidden City, and other indoor space. Th ese complex backyards are non main spaces of the palace buildings, all the imperial battles that happened here had a women's privacy character.Ci Xi's female identity used to m ake the film s about late Qing dynasty very difficult. All the space of palace, except for the glimpse to Supreme Harmony square on the moment of little emperor's ascending the throne or wedding in The Burning of Yuan Ming Yuan, were almost developed around the imperial harem. In 1987, the last emperor has get rid of the curse, it quickly en tered into the broad narrative of modern history since the death of empress, the story of the last emperor Puyi has changed the Imperial Palace----the unique Chinese arch itectural entity group, into the visual symbol of historical narrative and the mentality.As the changing of regulations on cultura l relic's protection, the conditions for real shooting in the Palace get gradually harsh and were completely shut down finally. Since the 90 s, the new historical words ha ve revived the imperial dram a. Therefore, the reproduction of the palace appeared in va rious antique television bases. They are no longer limited to the Ming and Qing dynasty. Slightly modified, they can reach the A Pang Palace, or b e compared with T ian an Men. T he unique f ilm language simulated the royal architectural paradigm, and got a “deserved” visual glorious, publicized the will of royalty together with the “emperors”.In the 21 st century, with the developm ent of computer graphics technology, the digital and virtual image of the palace has bro ke the physical buildings---limitations including “base palace” and “s et construction palace”, it has becom e the techn ical mainstream of “palace im age” creation in palace film's panoramic view. The images loaded by the “palace”---many of them are co mpletely fictional characters, and even never actually existed dynasty. They all together fulfilled people's every imagination to emperor's world. “Palace” has becom e a symbol which is realized by digitalize in Chinese films----it was people's imagination to power centralization. |
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