自我他者化:边地影像的诗学过渡与平等悖论  

Self-otherization:Poetics Transition and Equality Paradox of Frontier Documentary

作　　者：王奋飞 WANG Fenfei(College of Literature and Communication,Quanzhou Normal University,Quanzhou 362000,Fujian China)

机构地区：[1]泉州师范学院文学与传播学院,福建泉州362000

出　　处：《吉首大学学报（社会科学版）》2021年第6期96-104,共9页Journal of Jishou University(Social Sciences)

基　　金：国家社会科学基金一般项目(18BSS003)。

摘　　要："边地影像"是边疆少数民族民众纪录自身的非虚构创作。在朗西埃"可感性的分配"美学理论视野下,边地影像体现了题材选择的一视同仁和人性的解放,以平等维度的引入开拓了其艺术与政治价值。透过"自我他者化"的艺术操作,它改变边地的可感性的分配秩序。"客位视角"到"主位视角"和"参与拍摄"到"独立创作"的过渡所释放的乡野表达,成为评测其诗学力量的关键质素。同时,围绕"差异性"展开的影像再现常常导向"微小差异的自恋",并在言语的过度中营造了某种"圣化构想",进而使其差异政治悖论性地生成了新的可感性不平等。"Frontier Documentary"is the non-fiction filming of the frontierethnic people to film themselves.In the generalized aesthetic perspective of Jacques Rancière’s"partage du sensible",the frontier documentaries embody the non-discrimination of subject selection and the liberation of human natures,and explore its artistic and political values with the introduction of equality dimension.Through the artistic operation of"self-otherization",it has transformed the order of"partage du sensible"in the frontier.The rural expressions released by the transition from"etic"to"emic"and"participative filming"to"independent creation"have become the key quality to evaluate its poetic power.On the other hand,the image representation based on"difference"often leads to"the narcissism of minor difference",and excessiveness of parole also brings some kind of"sanctification conception",which then makes its difference politics paradoxically generate new sensible inequalities.

关 键 词：边地影像 自我他者化 美学过渡 差异政治 平等悖论 

分 类 号：J952[艺术—电影电视艺术]