Jia Zhangke's Film Space Narrative Research

As the leading figure of the sixth generation of directors,Jia Zhangke has completed the transformation from the underground to the ground,from the periphery to the mainstream,and from the domestic to the international.In that year,he took the camera to the street to capture the real hairy boy.With a bloody atmosphere,he touched the sensitive areas of Chinese society and took care of the emotional ambiguity of the small and medium-sized people in the era.He wrote historical records of individual memories with documentary images.Jia Zhangke's personal emotional experience has produced an era resonance with China in the transition period,which is reflected in the emotional pains that must be experienced in the process of modernization.Personal memories have been successfully replaced by the public emotions that the audience can and are willing to accept.The expression of such emotions is constructed through the transformation of the "flattening" narrative mechanism in loose and alienated plots.Jia Zhangke abandoned the traditional linear time narrative,and the causality,event chain,closed structure,and plot depth were all deconstructed.The fragmented plots,dispersive characters,and scattered structures loosened the compactness of the narrative time and weakened the logically related fragmentation.Love nodes interweave each other into a flat narrative network,and spatial style presents the natural life of the little people.Space has become an important role for the Jiashi movie narrative.This article selects eight feature films of Jia Zhangke as a sample,examines its creative process from the perspective of space narrative,and seeks to explore the aesthetic implication of flowing in the image space.The introduction part discusses the research background and research status of the thesis.At present,most scholars study Jia Zhangke from the perspectives of documentary characteristics,humanistic concerns,image styles,and transnational communication.Even if there is exploration of spatial narrative,it is also a borrowing space theory for the development of a single movie.In text analysis,few people grasp the spatial characteristics of the Jiashi movies as a whole,and the macro perspective of this article makes up for the lack of the research field.The second chapter is the spatial presentation of narrative content.It is divided into three sections based on geographic space,social space and virtualspace.It is intended to analyze the spatial characteristics of the expression of works.Through the liaison between the homeland and the urban,family and street space,it shows the mental dilemma of the young people in China's transitional period,and experience the meaninglessness of life in the contradiction between returning and returning,patriarchy and independence;the presentation and power of the prostitute body.The interpretations of the mechanisms collectively point to the social trauma behind visual representations.The differences between men and women,powers and civilians constitute an unbalanced cultural space;the surreal space of visualized constructions is connected with the media of mobile phones,televisions,and the Internet.Space,in the virtual reality space,but also better refers to the reality.The second chapter is the spatial presentation of the narrative content,and the geography space,social space and virtual space are divided into three sections,which are intended to analyze the spatial characteristics of the content of the works.Through the contact of the local territory with the local space such as the city,family and street,it shows the spiritual predicament of the youth in the county during the transition period of China,experiencing the meaninglessness of life in the contradictory body of running away and returning,patriarchy and independence;the appearance and power of prostitute body Mechanisms of the common point to the visual representation behind the social trauma,men and women,power and civilians and other differences between the construction of an imbalanced cultural space;through the visualization of consciousness constructed by the surreal space and mobile phones,television,Internet media Space,while virtualizing the real world,alludes to reality.The third chapter is the spatial presentation of narrative form.The thesis tentatively explains the narrative mechanism of Jiashi films from the perspective of space,and regards space as an important factor in the construction of a planar narrative.The time-dominated linear narrative is deconstructed by the episodic plots,events are no longer closely linked with the time series and causally connected,and the spatial substitutive time becomes the core factor that influences the turning of the story.The use of techniques such as still life and idle pens resets the narrative style of the Jiashi movie,and it separates the linear time that originally existed.The character's emotion spreads in the quiet and deep space;the gaze and quietness make the portrait photography of the people moveon.The screen captures the power of gaze in the visual structures of "seeing" and "being watched," and experiences the static aesthetics brought about by static characters.The epilogue is the inspiration of Jia Zhangke's film space narrative,centering on the interpretation of the national space and the transnational space for the reference to the Chinese movie space narrative.Jia's film accurately grasps the pulse of the times,composes the history of changes in ethnic emotions,records the emotional memory of Chinese society from a personal point of view,and constructs a national space that belongs exclusively to Chinese audiences;transnational space is more inclined to a cultural transcendency,Jiazhan movies Following the early fifth-generation folk spectacle,he successfully entered the European International Film Festival and realized the cross-cultural communication of Chinese art films.