Abstract
In a history spanning more than 70 years, Inner Mongolian films have long formed a unique aesthetic style and artistic form compared to other regional films. Therefore, it is particularly important to refer to Inner Mongolian films as "locality". The naming of Inner Mongolia films should highlight the "locality", that is, the concept must be distinguished from the perspective of nationality and geography. Natural space, social imagination space, and time space have jointly constructed the spatial landscape of Inner Mongolia films, while the northern nomadic culture and the multicultural complex of the local area outside the Great Wall construct the regional cultural mirror image of Inner Mongolia films. It can be said that the image system and narrative mechanism of spatial landscape and cultural mirroring image should become the basic principle and aesthetic standpoint of the semantic naming of "Inner Mongolia Films".
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