蒙古族题材电影叙事方式与文化建构研究被引量：1

A Study on the Narrative Mode and Cultural Construction of Mongolian Film

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摘要蒙古族题材电影在其历史发展过程中形成四种基本的叙事范式:第一,以意识形态和政治需求为导向的国族化叙事;第二,以美丽边疆和日常生活呈现为导向的景观化叙事;第三,以民族认同和草原文化表达为向导的民族化叙事;第四,以聚焦个体和关注现实为导向的个体化叙事。文章基于叙事方式的发展与变化,厘清蒙古族题材电影的演进规律,探寻内在的动因,思考叙事方式与文化建构之间的逻辑关系,进而凸显电影文本对文化建构的理论价值和实践意义。 In the course of its historical development, Mongolian films have formed four basic narrative patterns: first,national narrative oriented by ideology and political needs. Second, the beautiful frontier and daily life presented as the orientation of the landscape narrative. Third, national narrative guided by national identity and grassland cultural expression.Fourth, focusing on the individual and focusing on reality as the orientation of individual narrative. Based on the development and change of narrative mode, this paper clarifies the evolution rules of Mongolian films, explores the internal causes, and reflects on the logical relationship between narrative mode and cultural construction, thus highlighting the theoretical value and practical significance of film texts for cultural construction.

作者张瑞坤南长森 ZHANG Rui-kun;NAN Chang-sen(Shaanxi Normal University,Xi'an,Shaanxi 710119,China)

机构地区陕西师范大学新闻与传播学院

出处《贵州民族研究》 CSSCI 北大核心 2020年第3期146-151,共6页 Guizhou Ethnic Studies

基金陕西师范大学中央高校基本科研业务费专项资金资助项目“民族志传播学术史(1998-2018)”(项目编号:2019TS145) 内蒙古自治区高等学校科学研究项目“新世纪以来内蒙古题材纪录片对内蒙古区域形象的建构研究”(项目编号:NJSY20228)的阶段性成果。

关键词蒙古族题材电影叙事方式文化建构边疆想象 Mongolian films Narrative style Cultural construction The frontier imagine

分类号 J905 [艺术—电影电视艺术]

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参考文献1

1王一川.当前中国现实主义范式及其三重景观——以新世纪以来电影为例[J].社会科学,2012(12):165-173. 被引量：61

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