Spatial Production Of Chinese News Event Adaptation Films From The Perspective Of Experiential Power

From 1921 the first news events adaptation film "woe to the debauched" to the films of recent years,China’s news event finished film adaptation of "space" of the spontaneous transformation of reproduction is to consciously performance,this is the Chinese news events film adaptation in the process of steering typed,commercial writing strategy and economic policy,and film typed and commercialization is inseparable from the accurate interpretation of the audience psychology.Then,how do Chinese news event adaptations meet the audience’s psychological expectation through "spatial production" ? How does the image space affect the audience’s movie-watching experience and reality cognition? What changes have taken place in the subjectivity of the audience during the nearly two hours of watching the film? How will this change affect the expression of the film? Based on these problems,this research is trying to closely related to cognition and film under the perspective of phenomenology,eliel aspects.lefebvre ternary space dialectics as the theoretical basis,using the text analysis,summed up China’s news and events in the creation of spatial dimension to adaptation films,and analysis to the creation and viewing the implicit relationship between the psychological.From the perspective of experiential power,the "space" construction of the film can be effective because it promotes the audience’s association of their past experience and reaches the emotional destination under the linkage of collective unconscious and deep collective psychology.The study of "experiential power" film is a research direction rising with the trend of film phenomenology,which involves the relationship between film and audience,film aesthetics and film itself.This study first traces the historical origin of the film adaptation of news events in China,and finds that the producers of the film adaptation of news events in early China have noticed the sense of The Times and the sense of surprise of the news events themselves,and can take advantage of this feature as a box-office guarantee strategy.However,Chinese films adapted from news events have experienced ups and downs for several times,and are gradually declining in the tide of commercialization.At present,they are also faced with the struggle for the discourse power of Internet news,the competition of digital technology virtual images and the pressure of commercial realization.In order to break out of the dilemma,Chinese news events adapted films accurately capture the audience’s psychology,and then complete the emotional desire,realistic anxiety and deep psychological comfort of the audience through the space production of video art.Specifically,in the perspective of the column aspects.lefebvre space production theory,nearly 10 years of Chinese movie has to focus on the news events column aspects.lefebvre observes three yuan space for viewing the psychological effects,namely perceptual material space(theater space and body feeling space),symbolic spiritual space(after artist image space)and the life of the social space(characters living space)in the movie.This spatial production strategy also enables Chinese news event adaptation movies to break away from the shackles of reproducing news prototype and emphasizing film narrative,and to reinvigorate new vitality in the direction of more artistic and typological.Finally,through the analysis of the spatial production strategies in Chinese films adapted from news events in the past ten years,this study finds that this strategy enables audiences to re-recognize news events through images,thus making news events more widely disseminated and deeply disseminated.In the process of watching movies,the audience also obtains the catharsis of psychological desire and the satisfaction of collective emotion due to the body function of "space".In the end,the film medium and the news medium are mutually beneficial.