论民族志电影的内涵和外延$

The Connotation and Denotation of Ethnographic Movies

如今,民族志电影或者被理解为关于少数民族的电影,或者被理解为关于民族学人类学研究知识的电影。然而,这些理解都没有触及到民族志电影的真正本质:非虚构的影像获取方式、跨文化交流特征和实验特征。真正意义上的民族志电影,应该借助影像纪录的设备和工具去发现和探寻未知的知识,而不是复述既有的知识;揭示潜藏在表象背后的真相,而不是机械复制和呈现表面化、场面化的内容;展现影片制作者和被拍摄者之间的相互关系,而不是简单遵循某种表述模式而刻意回避或建构关系状态。除此之外,民族志电影制作者应该充分施展娴熟的拍摄和剪辑技能,让民族志电影摆脱民族志文字研究表述惯性的影响和制约。同时,民族志电影制作者也应该坦然面对影像叙事的局限性,并试着把民族志电影理解为一种探索世界的方法,从而确立民族志电影的独立人格。

Ethnographic movies are generally seen as movies about ethnic minorities or movies about ethnography＇s anthropological studies.This understanding fails to reveal their essence：a method to acquire non-fictional images,cross-cultural communication,and an experiment.The real ethnographic movies should：explore the unknown through the equipment and tools of image recording rather than retell the known;reveal the hidden truth rather than copy the superficial content;and present the relationship between the movie makers and the images rather than intentionally avoid or construct a state of relationship according to a pattern of expression.Ethnographic movie makers should also use their professional shooting and editing skills to keep away from the influence and restraint of the inertial expression of ethnographic texts.In addition,the movie makers should remain stoical at the limitations of ethnographic movies and try to regard them as a way of discovering the world and establish an independent personality.