解冻后期的苏联中亚加盟共和国电影(1960—1967)  

Films of Central Asian Republics of the Soviet Union during the Thaw(1960-1967)

作　　者：周艳 Zhou Yan

机构地区：[1]山西传媒学院

出　　处：《电影艺术》2022年第1期131-137,共7页Film Art

基　　金：山西传媒学院高级人才引进科研基金戏剧与影视学项目“中亚电影研究”(批准号:KQ2021008)阶段性成果。

摘　　要：中亚五个加盟共和国电影自20世纪20年代诞生以后,即作为苏联电影计划的子系统,基于中亚特殊的伊斯兰文化地缘政治特性,在大量以俄罗斯电影工作者为主创的情况下作为"他者"视域下"被启蒙"的东方镜像而存在。"解冻"中后期,在苏联电影先锋艺术探索的影响下,中亚一系列优秀影片开始打破"东方电影"叙事模式,走出"地图"以呈现真实的"大地",从中建构和认同加盟民族"主体"身份,使其走向多样性和反思性,成为中亚电影史上的第一个艺术高峰。After the birth of Central Asian films in the 1920 s, as a subsystem of Soviet film planning, Central Asia existed as an oriental mirror of “enlightenment” from the perspective of “the other” in a large number of films mainly created by Russian filmmakers based on the special geopolitical characteristics of Islamic culture. Under the influence of cutting-edge artistic exploration of Soviet films during the middle and late of The Thaw from 1960 to 1967, a lot of excellent films of Central Asia began to break the narrative modes of “Oriental film”, then walked out of the map and presented the real “earth” through the construction and exploration of “subject” identity, which reached the first artistic acme of films of Central Asia with more diversity and reflective Ethno-National identity images.

关 键 词：解冻 中亚电影 身份建构 苏联中亚加盟共和国 

分 类 号：J909.1[艺术—电影电视艺术]