少数民族题材电影文学创作的若干关系分析  

Analysis of Several Relationships in the Creation of the Film Literature Themed on Ethnic Minorities

作　　者：厉震林[1] 衣凤翱[1] 

机构地区：[1]上海戏剧学院

出　　处：《民族艺术研究》2016年第2期125-132,共8页Ethnic Art Studies

摘　　要：中国少数民族题材电影文学创作,"文革"前"十七年"以《山间铃响马帮来》《五朵金花》《冰山上的来客》《农奴》等经典影片作为样本,确立了其基本的文化表述格局,即"他述"话语下的"拯救性"与"奇观化"的题材基因;新时期以来,则以《猎场札撒》《可可西里》《图雅的婚事》《狼图腾》等影片作为美学标本,初涉了"民俗学"和"人类学"的精神内涵。目前,中国少数民族题材电影文学创作需要深化"民俗学"和"人类学"的品质等级,使其真正成为中国少数民族的精神自传、文化自觉与政治自信。它需要处理好以下的四种关系:一是有奇观但不止于奇观,需要进入民族史、社会史、精神史;二是有禁忌但不止于禁忌,可以艺术化地"表现",并揭示出"禁忌"背后的民族情绪和精神;三是有民族但不止于民族,更需要强调中华民族的共性;四是有文化但不止于文化,将少数民族文化与世界文化进行艺术学与人类学的"转译",使少数民族文化成为人类的财富。At present, the quality grades of folklore and anthropology should be deepened in the creation of the film literature themed on Chinese ethnic minority so as to really become the spiritual autobiography, cul- tural consciousness and political self - confidence of the Chinese ethnic minorities. Four relationships should be dealt with well： the first is to have a spectacle but go beyond the spectacle, and it is needed to enter the ethnic history, social history and spiritual history. The second is to have the taboo but go beyond the taboo, and the ethnic emotion and spirit behind the taboo should be expressed artistically. The third is to have the ethnic minority but go beyond the ethnic minority, so the commonality of the Chinese nationalities should be emphasized. The fourth is to have the culture but go beyond the culture, ethnic minorities＇ culture and the world cultural should be translated with artistic and anthropological perspectives so as to make the ethnic mi- nority culture a wealth to human beings.

关 键 词：少数民族电影文学 奇观化 民俗学与人类学内涵 少数民族文化的世界转译 

分 类 号：J904[艺术—电影电视艺术]