影片《告别有情天》是20世纪90年代英国遗产电影的代表作。影片对于庄园景观的书写，展现英国电影中乡村贵族绅士的生活空间，向世界展示了一种“英国遗产奇观”，突出了空间中保守、凝滞的特点，也体现出英国在全球化进程中保守、滞后的心理。但随着人物从庄园出走，更多流动空间的加入打破了庄园空间的封闭性，也对英国遗产电影中保守的“贵族趣味”发出了质疑。本文借助文化地理学的有关理论，分析得出影片《告别有情天》在风景层面存在“凝固”和“流动”两种特征，隐喻着这一时期英国的保守主义情绪在全球化浪潮中犹豫、质疑的态度，两种风景的同时在场，体现出20世纪90年代英国社会复杂的文化心理。

The film "The Remains of the Day" is a masterpiece of British heritage films in the 1990s. The film's writing of the manor landscape, showing the living space of the aristocratic gentleman in the countryside in British cinema, showed the world a "British heritage spectacle", highlighting the conservative and stagnant characteristics of the space, and reflecting the conservative and lagging psychology of Britain in the process of globalization. However, with the exodus of characters from the manor, the addition of more mobile spaces has broken the closed nature of the manor space and questioned the conservative "aristocratic interest" of the British heritage film. With the help of the theory of cultural geography, this paper analyzes that the film "The Remains of the Day" is characterized by both "frozen" and "mobile" landscapes, which metaphorically represent the hesitant and questioning attitude of British conservatism in the wave of globalization during this period. The simultaneous presence of the two landscapes reflects the complex cultural psychology of British society in the 1990s.