西南少数民族题材电影的“文化孤岛”修辞  

The Rhetoric of “Cultural Island” in the Films Themed with Southwest Minorities

作　　者：刘思成 LIU Sicheng(Academy of Film,Hong Kong Baptist University,Hong Kong 999077,China)

机构地区：[1]香港浸会大学电影学院,中国香港999077

出　　处：《贵州大学学报（艺术版）》2023年第2期42-50,共9页Journal of Guizhou University Art Edition

摘　　要：“文化孤岛”是从文化地理学上引申出的概念,也是一个有着隐喻性的词汇。它本身已经超出了后殖民和人类学范畴,不仅指涉独自坐落在远海的某个真正的孤岛或者深藏于复杂地形之中的域外之地,也可以代指由国际移民和区域移民发生之后,在某一地区内聚集起的成规模的社会单元。聚焦于中国西南少数民族题材的电影往往利用文化景观和结果论导向的“后变化”图像释义来想象少数民族社群及其世居区域面貌的“变化”。它们虽然关涉了一定的地缘社会的实在,却将之悬置,并且叙事时通常以聚落和单一民族为限设,并铺出其新乌托邦式面貌或新农村式的美好图景,在一定程度上忽视了“西南观”一直在生成中和杂合下的质态,以及少数民族乡村实具的变化性和延展中的矛盾。Cultural island is a concept derived from cultural geography and also a metaphorical term,which itself has gone beyond the scope of post-colonialism and anthropology.It not only refers to a real isolated island in the open sea or an extraterritorial spot hidden in a complex terrain,but also refers to a large-scale social community gathering in a certain region after an international or a regional migration.Films themed with ethnic minorities in southwest China often imagine how the ethnic communities and their living areas “have changed” by employing cultural landscapes and interpreting some result-oriented “post-change” images.Although they are related to the reality of a certain geo-society,they are suspended,as the narrative is usually limited to the settlement and a single ethnic group,presenting a new Utopian appearance or a beautiful picture of the new rural area.To a certain extent,they ignore the attributes of the “Southwest landscape” that has always been in the process of generation and hybrid,as well as the actual variability and tensions in the expansion of ethnic minority villages.

关 键 词：“文化孤岛” 西南少数民族题材电影 “文化孤岛”修辞法 

分 类 号：J905[艺术—电影电视艺术]