神性之下:伊朗电影的民族意识与文化取向  

Under the Gaze of God:The National Consciousness and Cultural Orientation of Iranian Cinema

作　　者：黄含 Huang Han

机构地区：[1]重庆工商大学艺术学院

出　　处：《电影艺术》2024年第2期12-20,共9页Film Art

基　　金：国家社科基金艺术学青年项目“伊朗电影文化创造力与国际传播研究(1979-2019)”(批准号:2020CC05054)阶段性成果。

摘　　要：两伊战争爆发后,伊朗电影在文化取向上转向伊斯兰传统。赞颂神性现实,强调人类精神共性之美,是作为伊朗民族文化重要部分的宗教意识在伊朗电影中的突出体现。伊朗电影的伊斯兰化主要体现为创作环境、作者观念、影片主题与风格的伊斯兰化。伊朗电影的文化取向是国家引导的结果,同时也体现了伊朗人回归文化本源,彰显民族文化独特价值的觉悟与自信。近年伊朗电影的多元化发展,显示出伊朗民族意识中宗教传统与现代性的复杂关系。With the outbreak of the Iran-Iraq war,Iranian films turned culturally towards the Islamicate tradition.Praising divine reality and emphasizing the beauty of the commonality of the human spirit are prominent manifestations of religious consciousness as an important part of national culture in Iranian films.The Islamicate Iranian cinema mainly reflects the film industry,author's concepts,themes and styles of films.The cultural orientation of Iranian films result from the guidance of Iranian government,meanwhile shows the awareness and confidence of Iranians on digging the cultural source and demonstrating the unique value of their national culture.In recent years,the diversity of Iranian cinema has indicated the complex relationship between religious tradition and modernity within the Iranian national consciousness.

关 键 词：伊朗电影 伊斯兰化 民族意识 文化取向 

分 类 号：J905[艺术—电影电视艺术]