This article discusses the role that nature plays in ethnic literature and films in the Seventeen-Year Period(1949-66).It takes the story of Daji and Her Fathers as an example and investigates the ways in which nature...This article discusses the role that nature plays in ethnic literature and films in the Seventeen-Year Period(1949-66).It takes the story of Daji and Her Fathers as an example and investigates the ways in which nature features in the reconstruction of ethnic identity in the formation of a multiethnic nation as in the case of China.I will explore three aspects:first,the debate on humanism,which was closely related to ethnic minority film production at the time.A central issue of the debate then was the question of“humanistic”-that is,affective,emotional,subjective,and most importantly,natural-expression in literary and art works.Ethnic minority identity,with its unique status,was given some latitude for humanistic expression and“natural”understanding.Second,due to ethnic minority groups’special significance in China’s nation-building,a reconstruction of ethnic minority nature became imperative for the People’s Republic of China.This reconstruction involves mostly restructuring a“second nature,”or dialectic nature of minority under the socialist mandate.This dialectic nature demands something more than natural,immediate constituents and requires a socially and politically mediated ethnic minority nature that is aligned with multiethnic nationality.Third,this dialectic nature is to be formed following Marxist dialectical materialism,mainly through the means of social(ist)labor that changes nature.展开更多
This article is about the movies from Chinese mainland under the production category of minority cinema （shaoshu minzu dianying）, between the years 1940 and 1963. It argues that the taxonomic effort of grouping diff...This article is about the movies from Chinese mainland under the production category of minority cinema （shaoshu minzu dianying）, between the years 1940 and 1963. It argues that the taxonomic effort of grouping different non-Hart ethnicities together into a single category of minority cinema is a sociopolitical attempt to construct, maintain and control the definition of ethnic minorities. It calls into question not what is within the film, but the classificatory practices outside of the film collectively engaged by the government, the film industry, the critics and the mass audience. Moving away from the methods of examining the representation and generic conventions of the cinema other scholarship has employed, this article emphasizes the classification system used during the time of the cinema. By comparing it with a similar classificatory problem in Western national history, using an epistemological perspective, this article criticizes the negative impact inevitably left in rhetorically driven classification systems.展开更多
文摘This article discusses the role that nature plays in ethnic literature and films in the Seventeen-Year Period(1949-66).It takes the story of Daji and Her Fathers as an example and investigates the ways in which nature features in the reconstruction of ethnic identity in the formation of a multiethnic nation as in the case of China.I will explore three aspects:first,the debate on humanism,which was closely related to ethnic minority film production at the time.A central issue of the debate then was the question of“humanistic”-that is,affective,emotional,subjective,and most importantly,natural-expression in literary and art works.Ethnic minority identity,with its unique status,was given some latitude for humanistic expression and“natural”understanding.Second,due to ethnic minority groups’special significance in China’s nation-building,a reconstruction of ethnic minority nature became imperative for the People’s Republic of China.This reconstruction involves mostly restructuring a“second nature,”or dialectic nature of minority under the socialist mandate.This dialectic nature demands something more than natural,immediate constituents and requires a socially and politically mediated ethnic minority nature that is aligned with multiethnic nationality.Third,this dialectic nature is to be formed following Marxist dialectical materialism,mainly through the means of social(ist)labor that changes nature.
文摘This article is about the movies from Chinese mainland under the production category of minority cinema （shaoshu minzu dianying）, between the years 1940 and 1963. It argues that the taxonomic effort of grouping different non-Hart ethnicities together into a single category of minority cinema is a sociopolitical attempt to construct, maintain and control the definition of ethnic minorities. It calls into question not what is within the film, but the classificatory practices outside of the film collectively engaged by the government, the film industry, the critics and the mass audience. Moving away from the methods of examining the representation and generic conventions of the cinema other scholarship has employed, this article emphasizes the classification system used during the time of the cinema. By comparing it with a similar classificatory problem in Western national history, using an epistemological perspective, this article criticizes the negative impact inevitably left in rhetorically driven classification systems.
