摘要
本文对两部藏族题材的电影故事片《农奴》和《静静的嘛呢石》进行了文本分析,从而得出如下结论:拍摄于"建国十七年时期"(1949-1966)的《农奴》采取的是一种"国家视角",以阶级斗争作为矛盾冲突的焦点,通过影片实现了一种社会主义新中国的民族身份赋予;而《静静的嘛呢石》采取的是一种"日常生活视角"(或曰"当地人的内部视角"),以文化冲突作为矛盾建构的支点,较好地体现了一种影视创造中的"文化自觉"。
Based on the text analysis of two Tibetan movies:'The Serf' and 'The Silent Holy Stones'.we believe, the former, shot in'17-year-period'(1949-1966), focused on class conflict from a 'state political perspective', in which Tibetans were viewed as one of the nations in new China. Whereas, the latter adopted 'daily life perspective'or 'local perspective', from which cultural conflict, or the tension between modernity and tradition took the priority. The four decades between the two Tibetan movies witnesses not only the fading of identity given by the state, but also the chasing of culture-consciousness and ethnic identity and subjectivity.
出处
《新闻大学》
CSSCI
北大核心
2016年第5期108-113,100,共7页
Journalism Research
基金
2009年教育部人文社会科学重点研究基地重大项目<电影与少数民族地区的社会变迁>(2009JJD860002)
