中国的主题公园伴随着三十年的城市化进程:从第一代以机械游乐为主的游乐场,到集旅游休闲、住宿购物和地产开发于一体的旅游综合体,再到以迪士尼为代表的国际连锁主题乐园,不同的历史语境影响着主题公园的功能选择,主题乐园的发展也改变着城市空间的话语表达方式。

我拍摄的这些大画幅彩色照片描绘了中国的若干个主题公园。主题乐园在中国,是现代化进程和后现代主义思潮的融合,仿佛现实世界的哈哈镜。

这些主题乐园不仅是休闲场所,还是社会欲望的物理表达。开门迎客的、抑或是在建的,一个个主题公园几乎就是当今崇尚消费和享乐的疯狂世界的微缩版,折射出这个已经在欲望中脱缰的世界。

正如当代著名文化研究学者迈克·费瑟斯通(Mike Featherstone)所说,“主题乐园为有序的失序提供了场所:它们的陈列展示中集合起了各种狂欢传统的要素,荟萃了种种异域风光与铺张景观的影像和仿真。”

In China, visiting theme parks has become a popular urban leisure activity. Discourse on the theme park within the Chinese context is twofold. On the one hand, the theme park is a complex result of modernization. The construction of theme parks demonstrates progress in land commercialization and urbanization. On the other hand, the theme park serves as a representation of postmodernism by contributing to the confusion between the arts and the everyday life.

Theme parks are more than merely leisure place, rather, they are moving toward the physical expression of society’s desires and redefinition of social space. Theme parks are frequently used to project a healthy image of urban leisure and tourism. The theme park is a window for observation about this era.

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