非纪实民族志影像的学术渊源、发展历程与实践类型  

The Academic Origin,Development Process and Practice Types of Non-documentary Ethnographic Films

作　　者：刘杰 王海飞[1] Liu Jie;Wang Haifei(Center for Studies of Ethnic Minorities in Northwest China,Lanzhou University,Lanzhou 730000,China)

机构地区：[1]兰州大学西北少数民族研究中心,甘肃兰州730000

出　　处：《西北民族大学学报（哲学社会科学版）》2024年第2期108-118,共11页Journal of Northwest Minzu University(Philosophy and Social Sciences)

基　　金：中央高校基本科研业务费专项资金资助项目“情境互动与书写实践:土族史诗《祁家延西》呈现形式的演变过程研究”(项目编号:22lzujbkyxs021)。

摘　　要：在以文化书写为目标的民族志影像发展过程中,关于非纪实民族志影像的理论与实践探索从未止步。为实现完整的文化表达或文化批评等方面的目标,创作主体在深度田野调查的基础上,存在运用动画、戏剧、剧情等多样化方式突破限制,诉诸文化深层表达的非纪实倾向。从学术渊源、发展历程与实践类型三个方面对非纪实民族志影像相关理论与实践活动进行梳理,有助于厘清民族志影像的边界与范畴,以宽容的理论框架,兼容民族志影像在表达形式层面的实践探索,发挥影像的传播优势,进一步实现民族志影像的社会价值,推进新时代中国影视人类学的发展。In the development of ethnographic films aimed at cultural writing,the practical and theoretical exploration of non-documentary ethnographic films has never stopped.In order to achieve goals of complete cultural expression or cultural criticism and other aspects,on the basis of in-depth fieldwork,creative subjects have used diversified non-documentary ways such as animation,drama and plot to break through the limitation and resort to non-documentary trend of deep cultural expression.This article sorts out the theories and practices concerning non-documentary ethnographic films from three aspects of academic origin,development process and practice types.This helps clarify the boundary and categories of ethnographic films,integrate the exploration of ethnographic films in the form of expression through a tolerant theoretical framework,give full play to the advantages of film communication,further realize the social value of ethnographic films,and promote the development of Chinese visual anthropology in the new era.

关 键 词：非纪实民族志影像 学术渊源 民族志影像史 影视人类学 

分 类 号：C912.4[经济管理]