历史、想象与身份认同——影片《成吉思汗》与《一代天骄成吉思汗》的叙事比较  

History,Imagination and Identity——A Comparison of the Narratives from the Films Genghis Khan and The Great Man,Genghis khan

作　　者：邹华芬[1] 

机构地区：[1]西南民族大学文学与新闻传播学院

出　　处：《民族学刊》2013年第6期82-86,121-123,共8页Journal of Ethnology

基　　金：2011年国家社科基金一般项目"当代少数民族小说对文化身份的认同;建构与审美转化研究"(项目编号:11BZW127);2011年西南民族大学中央高校财政基金项目"新时期少数民族题材电影研究"(项目编号:11SZYQN21)

摘　　要：围绕蒙古族英雄成吉思汗,已经形成了多重文本构成的语义丰富的话语场。对1986年詹相持执导的《成吉思汗》与1997年塞夫、麦丽丝执导的《一代天骄成吉思汗》两个电影文本的对比研究表明,两部影片在影像风格、叙事选择、细节塑造等方面的不同,显示出作为创作主体的导演在构造过去时游走于史实与想象中的姿态,叙事策略的背后展现出的其实是创作者族群、文化身份的差异以及自我定位等深层次的问题。应该说,这样的文本对比分析既对少数民族题材电影创作有启示意义,也是文化人类学之于历史、想象、身份研究的重要范本。If we investigate the different nar- rative images of the historic and heroic personage Genghis Khan, the creation of these different identities show a ＂unity of personality and commonality＂ . The narratives of both films, Genghis Khan （ehengji sihan） directed by Zhan Xiangchi in 1986 and The Great Man, Genghis khan （ yidai tiaojiao chengji sihan） directed by Saifu and Mai Lisi in 1997 show us that in the creation of their subject, there is a common quality in the image of Genghis Khan, and an emphasison the theme of unification. However, if we do a deeper study, we notice that there are obvious difference in the two films＇ narratives, differences in their characterization of Genghis Khan and in the details. When we look at the identity of the directors - Zhang Xiangchi is a Han Chinese, while Sai Fuso and Mai Lisi are Mongolian- we find that there is more meaningful research space to do a comparative study of the two films. This is obvious if we are analyze how two generations with different ethnic identities, such as Han and Mongolia, portray the film image of Genghis Khan, a man who holds a supreme position in the heart of Mongolia. We can see how the cultural identity of the film director influences the creation of a film based upon a minority cultural theme. The analysis of such a text not only has a relevance to the creation of films with minority themes, but also serves as an important model for the study of history, imagination, and identity in cultural an- thropology. 1. Differences and Identity Cognition The historical realities of the two films basi- cally come from the menggu mishi （ The Secret History of Mongolia）. However, both of them have reconstructed ＂ imagination＂, which reflects the selfidentity cognition of the Han and Mongolian directors. Genghis Khan directed by Zhan Xiangchi, is grounded more in historical fact and imagery style. The important events and many of the details in the film come from menggu mishi. The gaze of its camera language is relatively conservative,

关 键 词：历史叙事 想象重构 身份认同 

分 类 号：C912.4[经济管理]