Research On The Construction Of Chongqing City Image In Domestic Films In The New Century

City image is a comprehensive embodiment of a city’s natural geographical environment,architectural landscape,economic development,lifestyle and cultural soft power.It is also an overall impression of a city’s spirit,local customs,history and culture,civic life and architectural style.Compared with the visual mode dominated by words and pictures in the past,dynamic video has gradually become the primary visual mode,and the construction of urban image has gradually developed towards a dynamic and three-dimensional direction.Among them,film and television works deeply construct the city image because of their dynamic,extensive and three-dimensional characteristics.When it comes to cities in movies,Los Angeles and New York in the 20th century in the United States,Paris in France,Kamakura and Tokyo in Japan,Shanghai and Hong Kong in China are the favorite places of many movie creators.Since the new century,with the national development strategy gradually tilting towards the central and western regions,especially in 2010,Chongqing was designated as a national central city,and its topography and social culture attracted many directors to shoot works here.The unique means of transportation in Chongqing,such as light rail and cableway,make people dizzy and fascinating.Chongqing has become a field with more emotional experiences,which makes the author have a strong interest in Chongqing,which is imagined and constructed as a movie text.This thesis focuses on the film works with Chongqing as the narrative space since the new century,focusing on the image and characteristics of Chongqing city constructed in the films,and explores how to explore the fusion and collision of "new" and "old" in the modernization process of Chongqing through the spatial picture and characters.In addition,the author will dig deep into the predicament of this kind of works in the process of building Chongqing’s urban image.This thesis takes the films about Chongqing since the new century as a sample.Based on Lefebvre’s theory of space production,Foucault’s theory of heterogeneous space and kevin lynch’s theory of urban image,this thesis summarizes Chongqing images in domestic films,makes text analysis from the perspective of film-space-characters,and explores the construction of image on urban image with the assistance of case analysis and literature research,and characterizes "people and city" and "people and people" in urban space.It is considered that the city of mountains and waters,the foggy city and the vehicles in Chongqing’s images constitute the heterogeneous space,diverse space and dynamic space on the screen,while the urban-rural confrontation and the gap between the rich and the poor behind the images constitute the metaphorical space on the screen,and the multi-dimensional spatial images jointly form a spectacular and differentiated spatial image of Chongqing.However,the characters in Chongqing’s urban images,such as vagrants on the edge,people at the bottom,desire groups,etc.,reflect the urban otherness who lives on the screen but can’t integrate into Chongqing through mental disorder,distorted values and violent resistance,which reflects the modern thinking of many directors in the face of Chongqing’s urbanization process.This thesis can be divided into six parts.The first part is the introduction,which mainly expounds the topic selection,research background,research significance,research status at home and abroad,research methods,research innovations,etc.,so as to have a clear understanding of Chongqing’s urban image in domestic films.The second part starts with the definition of film and city image,film and Chongqing city image,and lays the theoretical foundation for the thesis from the perspective of characters and space.The third part combs the light and shadow changes of Chongqing’s urban image in different periods,explores the different urban images of Chongqing shaped by domestic films in different stages in the past century,and leads to the gorgeous changes of Chongqing’s urban images in domestic films since the new century.In the fourth part,starting from the dimension of space narrative,through Lefebvre’s "space ternary theory",Foucault’s "heterogeneous space" theory and kevin lynch’s "urban image" theory,the heterogeneous space composed of the capital of water and fog,the pluralistic space constructed by light rail,cableway and train,the new and old urban areas and the social space constructed by streets in Chongqing movies since the new century are studied in detail,so as to explore how Chongqing can draw a rich and diverse Chongqing with spectacular landscape.The fifth part,from the perspective of characters,shows the daily life of Chongqing citizens and the extended image of Chongqing city through the characters of vagrants,people at the bottom and urban people in the film.The sixth part studies the dilemma of Chongqing’s urban space image and Chongqing’s character image construction in movies,and on this basis,carefully reflects on the problems encountered in the construction process and gives enlightenment.In the conclusion,this thesis summarizes the construction of Chongqing’s urban image in domestic films in the new century.Whether it is a city of wonders composed of multidimensional space or a city of otherness composed of diversified characters,the sense of alienation between individuals on the screen and the sense of isolation between people and the city are inadvertently amplified,resulting in the loss of characters and the confusion of space.Furthermore,it is pointed out that there are some misunderstandings in the image-building of Chongqing city in domestic films,and film creators need to constantly break through in the creation process in order to achieve the overall transformation,and explore the possibility of more relationships between people and between people and cities.