论文题目：：Research into the representation of city in the Chinese film(英国电影学硕士毕业论文)
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Research into the representation of city in the Chinese film(英国电影学硕士毕业论文)
Chapter 1 Introduction
1.1 Introduction of city film
In recent years, the "city" in a "modern" core location has drawn people's great attention, and even in some extent "city study" becomes the contemporary "important" research. In the western academic view, Benjamin and his arcade research project have become a source of inspiration for contemporary urban studies.
近年来，“城市”中的“现代”的核心位置，已经引起了人们的极大关注，甚至在一定程度上的“城市”的研究成为当代“重要”的研究。在西方的学术观点，本杰明和他的拱廊的研究项目已经成为当代城市研究的灵感来源。
Derek Gregory in "Geographical Imaginations” book, besides discusses the model significance of Benjamin urban studies and singles out the theory of contemporary many insights and the specific city research are closely related, such as David Harvey explore "the urban experience" and more outstanding recently as" city planning" and "humanistic geography" angle to observe "post modernity status"; Edward Suya through the study of Los Angeles, puts the problem of space to the context of social theory, and puts forward the idea of a "postmodern geography"; Alan Borede through the investigation of Stockholm city life, makes a critical review of the internal connection of a city daily life and the modernity. The series of studies not only deepen people’s understanding to the modern urban condition, but also enrich the contemporary theory of city, to draw the complex image of "capital", "goods", "space", "culture" and "modernity" such areas in the "city" collecting, conflicting and blending. It seems to echo the new trend of http://www.51lunwen.org/movie/ the academic, in recent years, the "Hong Kong", "Taipei" and "Shanghai" also gradually become the focus of "urban studies" attention. Abbas explains the post-colonial space problems of Hong Kong in the building, image and culture with so-called "the disappearance of the political", WangDewei thinks that Hong Kong launches nearly half a century see-saw "with a city's position, and rural/national discussions", it might use “city” pose to resist or mock the strong "country" imagination with "rural" as the main characterization. XiaZhujiu uses the "colonial modernity building" to reconstruct the Taipei buildings and the city history, and directly questions the mainstream "modernity" plan. Jameson in the interpretation of a representative Taiwan film "terrorists", has rich insight to point out the intertextuality relationship between the movie space and urban space, especially it as the metonymy fable of "urban space" "remakes" the new image of Taipei. Taiwan scholars appear LiZhenya(2001) "from historical memory to empty the imagination: the loss of urban image in Hou hsiao-hsien movie", LiQingzhi (1995) "Taipei city image in the shaping and conversion in movies", LinWenqi(1995) "Taipei present in the movies of Taiwan", LinWenqi (2001) “in the 1990s the movie Taiwan's urban history, space and home". They from the city films, text of all the issues, and visual images mostly entanglements and true, the representation at power and visual monitor, and main body and identity issues configurations, they elaborate that image as a city meaning of fighting field, is filled with conflict, different capital or capital group, different people in film industry or social elite, and the edge of the homeless and migrant workers, loss of almighty, with their unique way involve in urban significance shaping and conflict. Their researches are good for our expanding urban movie research field of vision greatly.
Table of contents
CHAPTER 1 INTRODUCTION 2
1.1 Introduction of city film 2
1.2 Research contents 7
1.3 Research question and aim 8
CHAPTER 2 LITERATURE REVIEW 9
2.1 Definition of urban film 9
2.2 city image and film background 13
CHAP
