蒙古族题材电影的地缘呈现与民族书写  

Geo-presentation and ethnic writing of Mongolian films

作　　者：张之琨 何雅苑 ZHANG Zhikun;HE Yayuan(School of Fashion Media,Jiangxi Institute of Fashion Technology,Nanchang 330201,China;Media Arts Research Center,Jiangxi Institute of Fashion Technology,Nanchang 330201,China)

机构地区：[1]江西服装学院时尚传媒学院,南昌330201 [2]江西服装学院传媒艺术研究中心,南昌330201

出　　处：《服装论丛》2022年第2期18-23,共6页Journal of Clothing

基　　金：江西省高校人文社会科学研究项目(YS22221)。

摘　　要：蒙古族题材电影有着光辉的创作传统和历史,在中国民族电影的创作中占有重要地位。本文将蒙古族题材电影作为研究主体,从民族文化的地缘呈现出发,探索其创作嬗变的成因与特征,并从文化人类学的角度分析蒙古族题材电影对民族文化物质空间与精神空间的双重书写。本文认为,草原的地理特征孕育了蒙古族独特的地缘文化,蒙古族题材电影中视觉符号组合成了具备民族特性的草原意象。随着蒙古族的银幕形象从“他者观察”走向了“自我书写”,建立蒙古族题材电影自身的文化主体性显得愈发重要,只有将艺术性与商业性结合起来,是中国少数民族题材电影探索的必经之路。Mongolian films have a glorious tradition and history of creation,and occupy an important position in the creation of Chinese ethnic films.This paper takes Mongolian films as the main subject of study,explores the causes and characteristics of their creative transmutation from the geo-cultural presentation of ethnic culture,and analyzes the dual writing of Mongolian films on the material and spiritual space of ethnic culture from the perspective of cultural anthropology.This paper argues that the geographical characteristics of the grassland have nurtured the unique geo-culture of Mongolian people,and the visual symbols in Mongolian films have been combined to form the grassland imagery with national identity.As the image of Mongolian people on the screen is moving from"other observation"to"self-writing",it is more and more important to establish the cultural subjectivity of Mongolian films.The only way to explore Chinese minority films is to combine artistry and commerciality.

关 键 词：蒙古族题材电影 地缘呈现 民族书写 文化人类学 

分 类 号：J904[艺术—电影电视艺术]