从二元合作到三元协商:民族志电影创作关系反思

From Binary Cooperation to Ternary Negotiation:Reflections on the Relationships in Ethnographic Film Creation

影视人类学对民族志电影创作关系的反思,主要集中在拍摄者与被摄者的二元关系上,观众通常被放置在次要位置。其实影音设备的介入让观众从拍摄阶段就获得了隐性在场,构建起了超越二元的三元关系,加之拍摄剪辑、观众身份与传播读解等方面的多重不确定性,引发民族志电影更深层、更复杂、更难以完全化解的伦理困境。在三元关系中,创作者、被摄者与观众也并非总是通力合作,而是在矛盾与博弈中不断协商共构、迂回行进。聚焦三元关系的复杂性,让民族志电影朝良性方向迈进之时,也可洞见其在伦理关系中不断编织的深层张力。

In the field of visual anthropology,reflections on the relationship of ethnographic films have mainly focused on the binary relationship between the photographers and the subjects,and audiences are usually placed in a secondary position.In fact,audio-visual equipment gives the audiences a hidden presence from the shooting stage,and construct a triadic relationship.Multiple uncertainties induced by shooting and editing,audience identity,and dissemination and interpretation induce ethical dilemma of ethnographic film becoming deeper,more complex and more difficult.In the triadic relationship,creators,subjects and audiences do not always cooperate with each other,but rather they are constantly negotiating and co-constructing in contradictions and games.Focusing on the complexity of the triadic relationship allows ethnographic films to move forward in a benign direction,and we can notice deeper tensions.