绘制西藏纪录片类型的新图景——《第三极》《天河》的纪录精神大转变

Categorizing the New Pictures of Tibetan Documentary:the Change of Recording Spirit of the Third Pole and the Tian He

当前,传统文化、地域文化、民族文化等文化自觉正变成一种积极推动和形成西藏纪录片风格的惯习,在单元故事里书写一种地域变迁和共识,这种文化传承将当下"复兴民族文化"的历史情结和精神处境建构成一种神话式视野和话语。2015年,纪录片《第三极》《天河》呈现出跨文化传播中鲜明的纪录精神转变:从文化仪式及田野调查的深度化探秘解读到趋向趣味化、单元故事化叙事;从西方和汉地想象的神秘之地到民族文化认同之地;从边缘人的视角转为西藏农村农牧民和城市市民现实生活的话语观看;从凸显生态文明理念转向"文化自觉"意义上的非物质文化遗产保护。

At present the traditional culture, regional culture, national culture and other cultural conscious-ness are becoming a kind of actively promotine and forming the rituals of Tibetan documentary style, a regional change in unit story writing and consensus This cultural heritage will present the history of the “Renaissance” national culture complex and mental situation constructed as a mythic vision and dis-course. In 2015, documentary “ the third pole” and “ tianhe” present a distinct record of spiritual transfor-mation in the cross - cultural communication, from the cultural rituals and fieldwork depth interpretation explaining to the tendency of interest, unit story narration. And from the west han to imagine a mysteri-ous land to the land of national cultural identity; from the Angle of edge people into Tibet rural farm-ers and urban residents words watching real life; from highlight ecological civilization concept into “ cul-tural consciousness” in the sense of non - material cultural heritage protection.