从客位到主位:成为“被利用”的民俗影像制作者  

From Objective to Subjective:To Be Passive Folklore Film Makers

作　　者：熊迅[1] XIONG Xun(Sun Yat-sen University,Guangzhou 510275, China)

机构地区：[1]中山大学传播与设计学院

出　　处：《广西民族大学学报（哲学社会科学版）》2019年第1期11-17,共7页JOURNAL OF GUANGXI MINZU UNIVERSITY:PHILOSOPHY AND SOCIAL SCIENCE EDITION

摘　　要：基于在贵州屯堡地区的田野调查和关于屯堡地戏的民俗影像摄制,以个案的方式来探讨地戏这一民俗仪式如何以视觉化的方式形塑屯堡社会,并进一步构建了屯堡人的认同。随着对民俗主体和地戏价值的逐步理解,客位的摄像机视角也悄然转变,此后的参与式影像制作则成为村落中的视觉仪式。村民们从"为祖先跳地戏"到"为子孙制作电影",在剧烈的社会变迁过程中,影像与地戏一起,再一次确定了主位的文化价值:"表述我们自己"。Based on the field work and the folklore film making on the Tunpu Dixi Opera in Tunpu area of Guizhou Province, this paper explores in the case study how Dixi Opera as a folklore ceremony visually shapes Tunpu society and further establishes the identity for Tunpu people. With the gradual understanding of the folklore subjects and the value of Dixi Opera, the perspective of etic taken by the camera has also been quietly changed, and the participatory film making later on has become a visual ritual in the village. The villagers accordingly change from "performing Dixi Opera for ancestors " to "making films for offspring". In the great social change, the films, together with the local Dixi Operas, once again confirm the cultural value of emic perspective-"expressing ourselves".

关 键 词：民俗影像 贵州屯堡 地戏展演 视觉人类学 

分 类 号：C953[社会学—民族学]