Real And Imaginary: Space Exploration In Jia Zhangke’s Films

The founding father of spatial theory,Henry Lefebvre,always insisted on a very marginal consciousness,which Edward Sawyer interpreted as "heretical,anti-center" from an existential point of view,so that the third space theory is always associated with subversive and rebellious,and because of this innate marginal gene and rebelliousness,the third space is particularly capable of understanding Because of this inherent marginalization and rebelliousness,Third Space is particularly capable of understanding the deepest workings of the centers of power.Starting from a mode of otherization,Edward Sawyer’s "third space" explodes the homogeneous space into the heterogeneous space,breaks the traditional binary mode of opposing space,innovatively includes the first space and the second space,and proposes a third product of spatial description--the third space.The "other space" has a strong openness,and this othered spatial model breaks the long-standing binary model of either/or,shaping a space where the real and the imaginary coexist,and the presentation of this space makes the marginal and bottom space under the unified model of binary opposites gradually appear,and the choice to take the identity of The choice to enter the third space as a "marginal" is a response to Jia Zhangke’s observation of the social form and social consciousness of the local space in China.This paper will take Edward Sawyer’s third space theory as the starting point,Foucault’s definition of heterotopia as the keyword,and combine the critical theories of cultural studies and feminist geography to comprehensively interpret the space in Jia Zhangke’s film,and analyze how individuals resist social marginalization through the movement and struggle for space from the position of marginal culture and otherness.The first chapter of this paper focuses on the presentation of material space to the reality of marginalized people in Jia Zhangke’s films and the survival phenomenon of marginalized people,reflecting their experiences in different periods.The second chapter mainly studies the spiritual space constructed in Jia Zhangke’s films.The decay and imbalance of material space put individuals in the double order crisis of environment and psychology.Jia Zhangke’s attention to the alienated spiritual space of marginal characters shows his gaze on the confusion and social damage of individuals at present,and highlights his continuous excavation of the spiritual predicament of individual lives.The third chapter focuses on the social reality that the state of third space is becoming normalized,focuses on the problem of spatial alienation and the unbalanced difference in space presented in Jia Zhangke’s films,and explores how his works support the search for identity in the heterogeneous spatial state in the postmodern context,and build a bridge for the "marginal alien" to communicate and understand each other.From the standpoint of marginal culture and otherness,the film redefines the identity of the dominant spatial figure,analyzes how individuals resist social marginalization by moving and fighting for space,and how Jia Zhangke uses the difference,heterogeneity,and hybridity of space to tell the story of individual trauma and historical memory.What Jia Zhangke pays attention to and records is not only the changing process of spatial landscape,but more importantly the realistic problems in the current process of social differentiation in China,such as the living conditions of marginal groups.Family relations in different times;Spiritual alienation under the prevalence of consumerism;The problems of power logic in the process of urban disappearance,these social status quo,anxiety and contradictions are manifested and proved with the movement and development of space.