主体自述与悲悯叙事：藏语电影祛魅范式探赜  

Subjective Statement and Tragic Narration: A Research of the Disenchantment of Tibetan Language Films

作　　者：徐爽 袁铭泽 Xu Shuang;Yuan Mingze

机构地区：[1]西南大学文学院影视艺术系

出　　处：《电影艺术》2019年第6期63-68,共6页Film Art

基　　金：中央高校基本科研业务费专项资金项目“中国电影的公共外交与海外营销策略研究”（批准号：SWU1609129）;重庆市大学生创新创业训练计划项目“产业流变下藏语电影的市场化研究”（批准号：S201910635112）的阶段性成果

摘　　要：藏语电影创作群体自觉形成作者风格,在坚守少数民族文化本色的基础上,突破政治宣教与奇观拼凑的两种旧式表达,将影像重点复归到人民生活与文化本体,逐渐形成“去历史化”“去奇观化”的祛魅范式形态:在语言表达上,紧握母语配音这个发声形式,建构属于人民、内视视角的文化主体;在影像呈现上,结合现实主义美学与民族纪实风格,追索现代社会中文化冲突与融合的各类关系,这是对中国电影艺术形态多元面相的丰富,更是对国家形象与文化品质的锻造。The creative groups of Tibetan language films consciously form auteur styles by sticking to the cultural features of the Zang nationality,while breaking through political propaganda and spectacle gathering,so as to return to people's livelihood and cultural noumenon that gradually build a form of disenchantment in two dimensions:linguistically,those films were dubbed in Tibetan so that established a cultural subject from the internal perspective of the Zang nationality;visually,the films explored contradictions and blend in the modern world in a documentary style of realism,which diversify the art forms of Chinese films as well as promote the national image and cultural quality.

关 键 词：藏语电影 藏族题材电影 少数民族题材电影 少数民族母语电影 

分 类 号：J90[艺术—电影电视艺术]