“京兆”长安·“废都”西京·“古城”西安——电影中西安城市空间的影像呈现及文化嬗变

“Jingzhao” Chang’an, “Abandoned Capital” Xijing and “Ancient City” Xi’an:Image Presentation and Cultural Evolution of Xi’an Urban Space in the Films

电影呈现的西安城市空间形象,是古代“京兆”长安空间、近代“废都”西京空间和现代“古城”西安空间三张不同面孔的铆合或断裂。作为一种消失了的空间和“不可见的城市”,电影中的长安城成了一种不可见、不可知的想象和魔幻之城。在“到西北去”与“西安事变”的灾难与困境叙事中,作为一座营建十多载又被废弃的“陪都”西京,电影镜像呈现出挥之不去的“废都”气象与混乱景象。电影中现代“古城”西安城市空间形象的塑造和传播,充满了文化思辨的现代性隐喻。在“一带一路”语境下,就要在电影呈现中凸显传统文化与现代文化的精神和精髓,进而更好地塑造西安城市空间文化形象。

The urban space image of Xi’an presented in the film is a riveting or breaking of three different faces:the ancient“Jingzhao”Chang’an space,the modern“abandoned capital”Xijing space and the modern“ancient city”Xi’an space.As a vanished space and“invisible city”,Chang’an city in the movie becomes an invisible,unknowable city of imagination and magic.In the disaster and predicament narration of“going to the northwest”and“the Xi’an Incident”,as a“secondary capital”Xijing that has been built for more than ten years and then abandoned,the film mirror image presents the lingering climate and chaotic scene of the“abandoned capital”.The shaping and spreading of the spatial image of the modern“ancient city”Xi’an in the film is full of the modern metaphor of cultural speculation.In the context of“The Belt and Road”,it is necessary to highlight the spirit and essence of traditional culture and modern culture in the film presentation,so as to better shape the spatial cultural image of Xi’an.