The discussion of landscape in contemporary Chinese cinema is often carried out from the aesthetic artistic conception level of ″expressing feelings on the landscape″, which obviously fails to ad dress the cultural practice, visual criticism and other aspects of landscape. The analysis of ″landscape and film″ at different levels found that a certain research system has not yet formed. It undertakes multiple discourse practices in contemporary Chinese films. The scenery in the image is not only the presentation of ″things″, but also the direction of ″words″. There are three interpretations of landscape in contemporary films and their interactive relationships: as a ″word″, the landscape is intended to explore the relationship between the image itself and the subject metaphor from the perspective of the ″scene″ endowed with the subjective consciousness, symbolic meaning, and material characteristics of ″primordial Earth″; as the scenery of ″objects″, the connection between man and the ″world″ is confirmed by outlining the image of ″appliances real″ objects; finally, the ″truth scenery″, which transcends ″words and things″, endows ″catalyst″ to ″ I″ and ″ world″, which is ″ open context″ and imaginative signifier. The landscape spreads over the image expression and cultural interrogation beyond ″words″ and ″objects″ in the two way dimension of the limited screen frame and the infinite extended space.