在人类社会中，家庭作为一个天然融合血缘与地缘的组织体，是构成社会环境的基本单位。放眼华语电影的发展，家庭伦理题材电影一直占据着不可或缺的位置。这一方面是由于伴随着人类文明的演进，徘徊在疏离与弥合之间的“家文化”理念对文艺创作产生了深远影响；另一方面也得益于“家庭”本身在电影叙事中所具备的“潜文本”特征，使一些看似无法消弭的代沟与矛盾成为了类型叙事的灵感原点，从而以更加细密且深隽的视角投射出社会结构与生存境遇的改变。

作为一种特殊的叙事空间，电影中的家庭空间往往蕴含着伦理道德、文化重构、时代形塑等一系列无形而浩繁的社会化议题，家庭成员之间抽象的情感互动也都需要通过外显的空间形态得以阐释。尤其在新世纪到来以后，观念碰撞日益升级，多向度的价值选择使个体的诉求得以凸显，深受东方文化浸润的中国家庭随之呈现出多元形态，也为华语家庭伦理题材电影提供了丰富的创作母题。

本论文基于空间叙事学与电影空间叙事的相关理论，以新世纪以来两岸三地产出的优秀华语家庭伦理题材电影作为研究对象，主要采用文献研究、案例分析、交叉研究等方法，探究华语家庭伦理题材电影如何利用空间的建构与重组完成叙事任务，并对该题材影片的美学风格及文化内涵进行深入剖解。

本文包括绪论在内，一共分为四个部分。绪论部分主要梳理了国内外空间叙事学和电影空间叙事的发展现状，辨析了“叙事空间”与“空间叙事”这两个看似相近的概念，并对家庭伦理题材电影的相关理论研究进行了概述。第一章针对家庭伦理题材电影空间叙事的类型分野展开，明确了叙事空间的划分依据，并就不同空间模式的功能和作用进行了分析。第二章侧重探讨空间叙事在华语家庭伦理题材电影中的艺术表达，从功能定位和艺术表现两方面入手进行论述。第三章强调由表及里，透过家庭伦理题材电影空间叙事的外部表征进入主题内涵层面，从文化研究和社会实践的角度对其加以分析。

通过以上四部分的综合论述，笔者希望能够有效补充家庭伦理题材电影在空间叙事领域的研究成果；与此同时，本人的毕业短片《玻璃鱼缸》也是一部充分调动空间完成叙事的家庭伦理题材作品，因此论文的相关研究结论也为我的实践创作提供了更加丰富的表达途径和展现方式。

In human society, the family, as a natural organization that combines blood and geographical ties, is the fundamental unit of social environment. Throughout the development of Chinese language cinema, family ethics films have always played an indispensable role. This is due, on the one hand, to the profound impact of the "family culture" concept, which hovers between alienation and reconciliation, on artistic creation in the evolution of human civilization. On the other hand, it is also dependent on the "latent text" features inherent in the concept of "family" in film narration, which make some seemingly insurmountable generation gaps and conflicts become the inspiration for genre storytelling. Thus, these films project changes in social structure and living conditions in a more meticulous and profound manner.

As a particular narrative space, the family space in cinema often contains a series of intangible and complex social issues, such as ethical and moral values, cultural reconstruction, and shaping of the times. The abstract emotional interactions among family members also need to be interpreted through the explicit spatial form. Especially after the arrival of the new century, as the collision of ideas intensifies and multidimensional value choices make individual demands more prominent, the Chinese family, deeply influenced by Eastern culture, presents diverse forms and provides abundant creative themes for Chinese language family ethics films.

This paper is based on the theories of spatial narration and film space narration, using excellent Chinese-language family ethics films produced in the past two decades from Taiwan, Hong Kong, and mainland China as research objects. The paper mainly uses methods such as literature research, case analysis, and cross-research to explore how Chinese-language family ethics films use spatial construction and restructuring to complete narrative tasks. It also conducts an in-depth analysis of the aesthetic style and cultural connotations of the subject matter of these films.

This paper consists of four parts, including an introduction. The introduction section primarily reviews the development status of spatial narrative theory and film space narrative at home and abroad, distinguishes between the seemingly similar concepts of "narrative space" and "spatial narrative" and provides an overview of the relevant theoretical research on family ethics-themed films. Chapter One focuses on the spatial narrative types of family ethics films, defines the basis for the division of narrative space, and analyzes the functions and effects of different spatial modes. Chapter Two focuses on the artistic expression of spatial narration in Chinese family ethics films, from two aspects of functional positioning and artistic expression. Chapter Three emphasizes the importance of going from the outside to the inside, and analyzes the cultural and social practices of family ethics-themed films' spatial narrative from the perspective of cultural research and social practice.

By means of the comprehensive discussion in the four parts above, the author aims to effectively supplement the research achievements of family ethical genre films in the field of spatial narrative. At the same time, my graduation short film "Glass aquarium" is also a family ethics themed work that fully uses space to complete the narrative. Therefore, the relevant research conclusions of this paper also provide more abundant ways of expression and presentation for my practical creation.