Research On The "Home" Culture Of Family Films From The Perspective Of Space Theory

Family-themed movies,as a branch of national and local characteristics in film and television works,present different aesthetic qualities in various periods.Since the new century,domestic family-themed movies have shown a diversified trend along with the wave of genre.Among them,there are not only the evolution of Chinese traditional family structure and ethics,but also the wandering of individuals in physical space based on the spiritual level."Time konws love" focuses on the theme of family.By telling the story of a family’s marriage breaking to stitching and then to complete collapse,it portrays the muddy state of individuals in the family space and their own growth after difficulties.With the help of the "home" space of villages,small towns and cities,the emotional context and intergenerational map are connected in the regional space.Film is an aggregate of time and space,and the time flow of images depends on the combination of changes in space.Therefore,for film narrative,space is not an external condition,but an inherent element.In terms of film,spatial narrative refers to the construction of different forms of spatial patterns through the narrative "language" of sight and hearing,and participates in the story arrangement.This plays an important role in the construction of characters,plots,and environment.At the same time,the regional,cultural,and modern aesthetic characteristics of the film will also be revealed by space.Taking the Poetics of Space by Gaston Bachelard(1954)and the Production of Space by Henry Lefebvre(1974)as the basic theoretical references,this paper takes the family-themed films since the new century as samples,and discusses the feature film The Geometry of Phases to explore the cultural mirrors constructed by the film in the symbolic image space,the family relationship space and the social space formed by the family in different fields.By combing the pedigree of Chinese family-themed films and spatial narratives,this paper explores the spatial shift of domestic family-themed films in the last century and the aesthetic characteristics of contemporary family-themed films.Based on this,the first part analyzes the triple image creation space under the film "space production" : authorship space,visual space,and auditory space to present the inherent cultural relevance of authorship and home,and the function of audiovisual symbols as the "material" of film production and the "power" of narrative spreading.The second part constructs the basic family space,blood intergenerational space,and individual spiritual space through the family member relationship space in the film,and draws the relationship space evolution of family members from identity to body,from blood ethics to emotional community.The third part explores the interpretation of "home" in the text in terms of regionality,culture and spirituality through the extension of "home" to social space.Based on the above ideas,this article is based on the theory of spatial narrative,taking the domestic family-themed films from 2000 to 2022 as samples,and combining with the family-themed film “Time konws love”,in contrast to the same differences in the text area,we can observe the development context,structural pattern and aesthetic characteristics of family spatial narrative since the new century,so as to explore the social culture mirrored by family-themed films.