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作 者:朱靖江[1] 刘晓慧 ZHU Jingjiang;LIU Xiaohui
机构地区:[1]中央民族大学民族学与社会学学院,北京100081
出 处:《原生态民族文化学刊》2024年第4期1-10,153,共11页Journal of Ethnic Culture
基 金:北京市民族艺术学高精尖学科专项研究课题重点项目“中国少数民族非遗影视创作研究”(ART2020Z02);国家社会科学基金一般项目“以‘中国少数民族社会历史科学纪录影片’为基础的中国影视人类学研究”(21BSH151)。
摘 要:在外部社会和内部传承的影响下,东北萨满信仰形式与内容正发生变化。在城镇化、现代化、信息化的影响下,东北萨满文化以影像新形式在“快手”上传播,其功能也在悄然转变。使用虚拟民族志的研究方法,发现“快手”平台上的萨满文化呈现宗教语境的平面化展演特点,作为一种东北地域文化的象征符号,给远离乡土的东北村民带来地域认同感与情感满足。此外,“快手”并非专门为传承民俗文化而设计,但其文化变现机制却促成了萨满“神调”与二人转艺术的新融合,一种全新的文化传承方式正在兴起。然而利益创收的驱动力使得“博流量”的劣质内容出现,影响了东北萨满文化在短视频平台上的原真性文化传播。如何对于这一类短视频与直播间进行规范与引导,需要政府相关部门、学界与媒体平台共同进行反思。Under the influence of external society and internal inheritance,the form and content of shamanism in the Northeast are changing.Under the influence of urbanisation,modernisation and information technology,the culture of Shamanism is being spread in new forms of video on the"Kwai"application,and its function is also quietly changing.Using the research method of virtual ethnography,this paper finds that the shamanic culture on the platform of"Kwai"presents the characteristics of exhibition which is divorced from religious context,and as a symbol of the regional culture of the Northeast,it brings a sense of regional identity and emotional satisfaction to the villagers in the Northeast who are far away from their hometowns.In addition,"Kwai"is not specifically designed for the transmission of folk culture,but its cultural realisation mechanism has led to a new fusion of shamanic"sacred tunes"and the art of Errenzhuan(二人转),and a new way of cultural transmission is emerging.However,the driving force of profit makes inferior content for the purpose of attracting attention appear,affecting the original cultural dissemination of Northeastern shamanic culture on short-video platforms.How to regulate and guide this type of short videos and live broadcasts requires joint reflection by relevant government departments,academia and media platforms.
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