柬埔寨电影史:研究框架与主要议题  

History of the Cambodian Cinema:Research Framework and Key Issues

作　　者：司达[1] 赖思含 Si Da;Lai Sihan

机构地区：[1]云南师范大学传媒学院

出　　处：《电影艺术》2022年第1期122-130,共9页Film Art

基　　金：云南省哲学社会科学规划重大项目“南亚东南亚国家媒介传播史研究”(项目号:ZDZB201913);云南师范大学传媒学院科研协同创新项目“中国—南亚东南亚国家广播影视传播研究”阶段性成果;云南省2018“万人计划”青年拔尖人才专项计划资助。

摘　　要：柬埔寨电影生产、传播和文化的历史流变可划分为四个历史阶段:殖民化时期、去殖民化时期、反殖民化时期和后殖民化时期。其间,柬埔寨影人依托高棉文化范式,将电影作为教育手段,在民族认同、阶级调和、社会和谐及文化改造等方面,实现了电影的社会治理功能。历史上,柬埔寨电影曾凸显出明显的主体性特征和高辨识度的民族性元素,但在当代,本土影业深受西方资本干预,形成了极具剥削特征的制片模式。西方意识形态的腹语术,也隐蔽地潜藏在影片文本中。In order to probes the historical changing features of film production,communication and film culture in Cambodia,the paper divides Cambodian film history as four periods:colonialism,off-colonialism,anti-colonialism and post-colonialism eras.The paper focuses on traditional ethnic characteristics and culture paradigms in Khmerian local filmmaking,as well as filmmakers’attempts in deploying film as educational methods to achieve societal governances,such as national identification,social harmony,class reconciliation and culture reform.Cambodian film had shown its distinguishing subjectivity in history.However,under the impact of western capital,contemporary Cambodian film production is essentially a mode of exploitation,while western ideological ventriloquism is secretly manipulating film text.

关 键 词：柬埔寨电影 殖民主义 高棉文化 西哈努克电影 潘礼德 

分 类 号：J909.335[艺术—电影电视艺术]