从《舌尖上的中国》到《风味人间》，中国美食纪录片进入了更为丰富、多元和全球化的创作时代。《舌尖上的中国》作为中国美食纪录片的里程碑之作，以其独特的叙事手法和深入的文化内涵，成功引发了全社会对美食文化的广泛关注。《风味人间》在延续《舌尖上的中国》的基础上，进一步将叙事视野拓展到全球，也引发笔者对美食纪录片在空间叙事上的研究兴趣。截至目前，学者们的研究范围多集中在对作品的叙事策略、跨文化传播及美学表达三个方面。本文将以空间叙事的角度切入，以加布里尔·佐伦的叙事空间理论作为文章的研究框架，研究美食纪录片如何通过空间叙事的手法，构建饮食文化的情感表达，揭示美食纪录片在全球化语境中的独特价值与意义，为中国美食纪录片的创作与研究提供新的视角与思路。

文章绪论主要说明研究背景及研究意义，对空间叙事理论做细致梳理，明晰空间叙事与叙事空间之间的内在联系，交代研究方法和具体研究内容，并阐述毕业创作与论文的关联。第一章内容以美食纪录片的地志空间层面，分析不同地域空间对饮食文化的形塑；第二章内容聚焦于美食纪录片的时空体空间构建，探讨人与食物如何经过历时与共时变化，构建饮食文化叙事空间；第三章内容则以文本空间的叙事策略切入，从叙事视角、语言选择、文本的线性时序以及视听艺术创作方面，分析美食纪录片如何对现实生活进行艺术化再现。

研究发现，在美食纪录片的构建中，空间不仅仅是故事的发生背景，通过不同空间的艺术化组合及符号化建构所形成的文化景观，能将地方认同、集体记忆、情感表达等联系起来。由此可见，将“空间”的丰富内涵与美食的多样性巧妙融合，让饮食文化与人文情怀在“空间”中得以寄托，不仅能够深化美食纪录片文本的吸引力，还有助于创作者借助空间的叙事手法丰富文本创作与情感表达。

From A Bite of China to One Upon a Bite, Chinese food documentaries have entered a richer, more diverse and globalized era of creation. As a milestone of Chinese food documentary, China on the tip of the tongue, with its unique narrative techniques and in-depth cultural connotations, has successfully aroused widespread concern about food culture in the whole society. On the basis of continuing A Bite of China, One Upon a Bite further broadens its horizons and expands the narrative scope of food documentaries to the whole world. It is found that in the construction of food documentary, space is not only the background of the story, but also the cultural landscape formed by the artistic combination and symbolic construction of different spaces, which can link local identity, collective memory and emotional expression. This article will take the space narrative theory as the instruction, take Gabriel Zorin's narrative space theory as the research frame, how to construct the emotion expression of the food culture, how to present the person and the food, the person and the society, the culture and the history, reveal the unique value and the significance of the food documentary in the globalization linguistic environment. It provides new perspectives and ideas for the creation and research of Chinese food documentaries. The introduction of the article mainly explains the research background and research significance, and carefully combs the space narrative theory, clarifies the internal relationship between space narrative and narrative space, explains the research methods and specific research contents, and expounds the relationship between graduation creation and thesis. The first chapter analyzes the shaping of food culture in different geographical space from the perspective of geographical space of food documentary, and the second chapter explores the construction of cultural symbols in food documentary from the perspective of space-time space in food documentary; The third chapter starts with the narrative strategy of text space, and analyzes how the food documentary artistically reproduces the real life through the visual and auditory space from the aspects of narrative perspective, language choice and linear time sequence of the text. It can be seen that the ingenious integration of the rich connotation of "space" and the diversity of food, so that food culture and humanistic feelings can be placed in "space", can not only deepen the attraction of food documentary text, but also help the creator to enrich the text creation and emotional expression with the help of space narrative techniques.