民族题材电影与“中华性”话语的建构  

Nationality Themed Films and the Construction of the Discourse of “Chineseness”

作　　者：饶曙光 贾学妮 Rao Shuguang;Jia Xueni(Chinese Federation of Literature;Chinese Association of Film Critics,Beijing,100088;School of Chinese Language and Literature,Shanxi University,Taiyuan,Shanxi,030032)

机构地区：[1]中国文联 [2]中国电影评论学会,北京100088 [3]山西大学文学院,山西太原030032

出　　处：《民族艺术研究》2022年第5期5-12,共8页Ethnic Art Studies

摘　　要：“中华性”是20世纪末中国文化面对前所未有的挑战时,中国学者站在本土与民族文化立场上提出来的具有阐释效力的理论话语。随着中国文艺创作实践的不断丰富,“中华性”这一知识型话语被不断建构与完善。民族题材电影在其发展过程中对“中华性”话语的建构性体现在:从微观层面上看,多样性的民族题材电影彰显了“中华性”的“异品同韵”;从中观层面上看,民族题材电影通过描述少数民族的现代性遭遇以及对民族文化的现代性反思,反观中华文化的现代性与“中华性”;从宏观层面上看,民族题材电影对共同体美学的追求是“中华性”这一知识型话语的实践,这为铸牢中华民族共同体意识提供支撑。“Chineseness”is a theoretical discourse with illustrative effect which is proposed by Chinese scholars who stand in the position between localized and nationalized points when they face unprecedented challenges of Chinese culture in the end of the 20^(th) century.Along with the accumulation of the creation of Chinese cultural and artistic works,“Chineseness”is continuously constructed and perfected as an academic discourse.There are several aspects where nationality themed films influenced the construction of the discourse of“Chineseness”:from the micro perspective,diversified nationality themed films manifest the“diversified types integrated in the same charm”of“Chineseness”;from the middle perspective,nationality themed films retrospect the modernity and“Chineseness”of Chinese culture through description of the modernity encounter of ethnic minority groups as well as the retrospection of modernity of national culture,from the macro perspective,the pursuit of the aesthetics of community in nationality themed films can be seen as the practice of the academic discourse of“Chineseness”,which can bolster the cast of the awareness of the community of Chinese nation.

关 键 词：民族题材电影 “中华性” 多样性 现代性 共同体美学 

分 类 号：J902[艺术—电影电视艺术]