A Study On The Image Of Ruins In Chinese Urban Films(2000-2019)

In the 21 st century,urbanization has entered a period of rapid development,and Chinese film creators have turned their attention to the rapid development of urban space.As a common product of urbanization,ruins have become a common spatial image in Chinese urban films.This paper takes Chinese urban films from 2000 to 2019 as the research object,and sorts out the modeling,narrative and ideographic functions of ruins in films.On this basis,it further expounds the reasons why Chinese urban films use the image of ruins,and tries to explore the beneficial enlightenment to the creation of Chinese urban films.This paper is mainly composed of four parts: The introduction part sorts out the research overview of Chinese urban films,analyzes the ruins image in the research of various artistic works,analyzes the related concepts involved in this paper according to these research results,and expounds the research motivation,research background and research methods surrounding this topic.The first chapter,with space composition as the core clue,divides the "image" of ruins image in Chinese urban films into three levels: the selection of realistic elements,the reconstruction of media technology,and the organization of ideology.Through combing the realistic factors and combining with the modernization process,the classification of ruins in material space is realized.The paper gives an example of the means of reconstruction of material ruins by media technology,explores the influence of innovation of digital technology and media equipment on the production,dissemination and delivery of ruins images,and envisages the possibility of ruins in future images.From the perspective of different creative attitudes and positions,namely the differences of creators’ subjective world,this paper analyzes the influence of ideology on the organization of ruins image.The second chapter,from the perspective of cultural connotation,deconstructs the "meaning" of ruins image in Chinese urban films,and divides it into three aspects: index of social memory,reflection of living conditions,and externalization of desire/emotion.The index of social memory focuses on the rewriting of audience memory and the synthesis of cultural memory.The portrayal of living conditions highlights the role of ruins in shaping characters and rendering atmosphere,and shows the individual differences between urban residents.The externalization of desire/emotion conveys the subjective color that film ruins can carry and express.The third chapter,from the perspective of aesthetic value,explores how the image of ruins in Chinese urban films makes the audience generate aesthetic experience and what aesthetic experience it brings.By introducing the three concepts of the beauty of distance,the beauty of nature and the beauty of human nature,and by combining eastern and western aesthetic thoughts and visual culture theories,it is clear that the natural beauty and lofty beauty can be achieved by combining film art and urban ruins.Thus affirms the positive role that ruins image can play in Chinese city film.Generally,the purpose of this paper is to through the ruins of image and the link between the film art,explore China’s urban film the multiple construction of modern living space,for different classes in the city,age,gender,individual concerns,of the ideology of Chinese traditional culture and aesthetic characteristics of affirmation,and conform to the current trend of the development of the discipline theory fusion,The paper introduces space theory,culture theory and gender theory to provide a new perspective for the study of Chinese urban films.