| After entering the new century,with the continuous development,improvement,and differentiation of China’s film and television industry,adventure themed documentaries actively explore the context of the times,both continuing the inherent national identity and developing new style features,generating a new configuration with the characteristics of the times.The prominent feature is the rediscovery and expression of human beings,focusing on the process and significance of exploration,revealing the psychological demands of group healing anxiety,and urging individuals to complete a dialectical regression in the action trend of running away,seeking,and returning.The outdoor natural space is a space that carries the actions of explorers,and is structured here as a fixed and identifiable symbol.This space is no longer a place for character activities,but a continuously open and flowing space that follows the growth of characters,making it possible to express it as a productive space.Based on the theory of spatial narratology,this article examines the new features and localized expressions presented in the creation of this subject documentary from three aspects:spatial type,narrative strategy,and value expression.The first part explores the presentation of spatial patterns in documentaries on Chinese exploration in the new century,analyzing them from three dimensions: "landscape space","spiritual space",and "social space".Landscape space does not remain a static container for carrying objects,but rather a dynamic and continuous production process.The space constructed by the polarized values and ritualized symbols of large and small,high and low,inside and outside that the transcendental explorers wander through,represents the product of specific socio-historical images and cultural psychological projections.As a place of adventure where heroic spirits congregate,explorers have routinely composed personal biographies of their sufferings and trials with a perseverance and courage beyond the ordinary.Through a chronological retracing from the red spirit to the spirit of climbing,up to the spirit of adventure since the new century,the spiritual space has unveiled the ways in which the theme of “sublime” spirit has been constructed in the narrative,and the ways in which this national spirit that may have been incorporated into the bloodline of Chinese people has been revitalized through the imagery in the space.With the glory and the darkness lurking in the land,this paper uncovers the history of female and underclass people being excluded from the “heroic reputation” in the social space through two levels of gender compartmentalization and identity compartmentalization,as well as the ways for the disenfranchised to get a breakthrough in the panoramic view since the entry of the new century.The second part examines the spatial construction strategies of exploration themed documentaries from three levels:viewpoint based,relational,and structured.The third part elaborates on the spatial narrative value of this documentary from three aspects: survival value,aesthetic value,and cultural value.At the spatial and existential level,through venturing into the redemption method of this modernity dilemma,the explorers have completed the authentic acquisition from the multifaceted fragmentation of urban space to the bridging of natural space,in addition to completing the reconstruction of community in the “atomized” society by means of shared interests and emotional intermingling.At the spatial and aesthetic level,the body “resonates” with nature in the aesthetic space of “atmosphere” where the subject and the object coincide,which eliminates the hollow landscape gaze and promotes various aesthetic cultures with a variety of bodily aesthetic patterns.At the spatial and cultural level,the spirit of outward expansion of the West is taken as the basis for comparison,while the linear historical view that breaks down time over space realizes a differentiated local spatial composition. |
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