In the postmodern society, the flexible flow of capital brings about the "novelty, fleeting, transient, short-lived, changeable and accidental accident" experience of "modern life" and time acceleration and space compression, which affects the way of behavior in an all-round way, shapes people's way of thinking and life experience, and builds a pluralistic identity to adapt to this changing society and form an individual's diversified identity.
In contrast, if the individual is unable to adapt to this transience and change, it will lead to a split in the construction of individual identity and lead to a split in self-identity. The identity plurality characteristics produced under the compression of time and space raise the question of how individuals can make their own identities harmonized in identity construction. People construct different identities according to different scenes, and how to make these different identities harmoniously integrated has become the main problem in people's identity in modern social life.
The construction of Rumi's self-identity in "The House of Unhemp" faces such a problem. Influenced by the way of thinking that "existence is everything" in the compression of time and space, Rumi cannot distinguish the difference between the past and the present, and believes that what the present has is all existence, confusing the past self and the present self-identity, resulting in the division of identity pluralism.
Rumi was also an idol singer when she was young, but the rapid development of the times made Rumi quickly obsolete, and her idol dream was shattered so that she could only transform into an idol agent. Faced with Weima, who came to the metropolis alone from a small village to work hard for the singer's dream, Liumei inevitably felt a sense of pity for the same illness, and in the process of serving as Weima's agent, he involuntarily projected his idol dream onto Weima's body.
At this time, Rumi's identity is not only an agent who is not numb, but also a dream builder who is unwilling to give up the dream of idols in his heart. She projects her dream onto Weima, believing that the success of the road to Weima's idol is her success. In another cyberspace, Rumi established the "Weima's House" website, became the idol "Weima" on the Internet, and interacted with fans in the voice of Weima.
"Idol agent", "dream builder", and "Internet Weima" are Rumei's multiple constructions of self-identity, and when Weimei has not yet transformed into an actor, Rumi's triple identity construction coexists harmoniously and does not disturb each other. But when Yuma decides to lose his idol identity and become an actor, Rumi's constructed identity begins to be confused.
The "dream builder" can no longer add his idol dream to Weima, and the consciousness of autonomy that Weima gradually awakens makes Rumi's work as an "agent" lose a sense of control, and only the identity of "network unhemp" is still controlled by himself in the borderless land of the network.
Therefore, the identity of Liumei's "network unhemp" continues to expand, and gradually dominates in the construction of multiple identities, which makes Liumei's self-identity shift, and finally splits out the personality of "idol Weima", completely treating himself as an idol in reality, and the incongruity of identity leads to the lack of coordination and unity of Liumei's own identity diversity, thus moving towards the division of spiritual personality.
Similar to Rumi is Koyamauchi's construction of self-identity in "Red Hot Chili Peppers", as a facilitator of the chairman's dream domination plan, Koyamauchi is actually a member of the DC m丨ni theft gang. In Akira, he plays the role of "Justice Researcher, pretending to help Chiba and Shida investigate the theft of DC mini without knowing it."
In the shadows, he is also a "perpetrator", in order to complete the chairman's dream ruling cause, he sacrificed his body to the chairman for free and became the chairman's humble "servant". Deep in the heart of Koyamachi, he is full of emotional contradictions, and he is both an "admirer" of the chairman and at the same time loves Atsuko Chiba, and is Chiba's "admirer".
Because of Chiba's affection for Shida, and out of jealousy of Shida's genius, Koyamanuchi became a "jealous" for Shida. Unlike Rumi, multiple identities are coordinated in the identity construction of Koyamai, who unifies these plural identities into the identity construction and identity of "people" - "I have many faces, so I am a human being", believing that people are multiple beings where light and darkness, good and bad.
It can be seen that space compresses time, and time is space-time compressed experience, bringing the subject a fleeting sense of change, which can not only allow individuals to move from identity pluralism to division, but also integrate multiple identities with each other, unify into new identity symbols, and construct new identities. This is also reflected in Chiyoko's construction of self-identity.
After Chiyoko met the painter when she was a girl, the painter hurriedly took the train out of Japan to escape the pursuit, and Chiyoko who was one step behind had to look at the distant train and secretly swear that she would find the painter and return the key. The period in which the girl Chiyoko lived was the period of rapid development of Japan's capitalist economy, and the new mode of transportation composed of rails and trains made people's time across space rapidly shortened, and people could reach countless places they wanted to go in a short time.
Chiyoko projected this identity into her career as a film actor, playing a "chaser" in different times and spaces in the film screen space, and constantly deepening her love for the painter in the process of chasing, and deepening her obsession with finding a painter, becoming a "famous actor" with love and obsession in reality.
After years of fruitless chasing, the loss of the key impacted Chiyoko's obsession and dissolved the construction of her "chaser" identity, leaving Chiyoko's identity uncertain, and Chiyoko married sadly and became a "housewife" who let go of her obsession. After recovering her lost key, Chiyoko rekindles hope and re-embarks on the train to the painter's hometown.
In the time-space compression experience of riding the train, Chiyoko's obsession with chasing is transformed into her lifelong dream in the staggered presentation of space, and Chiyoko changes from a "chaser" to a "dream chaser".
Chiyoko's journey to find her identity in different time and space is actually a journey to find her own identity, in the search, Chiyoko constructs a young and beautiful self-identity, there must be someone in the distance waiting for her fantasy to give her a sense of belonging, from "chaser", "famous actor", "housewife" to "dream chaser", Chiyoko's identity diversity gradually becomes coordinated in the continuous construction, constructing a unified identity of "dream chaser" - the "dream" chased by Chiyoko, In fact, it is to pursue and retain a young and beautiful self.