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新世纪少数民族形象的域外生成

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电影与文化关系密切.电影是电影人以各种方式建构的文化和社会表征的来源,有能力在人们的头脑中创造形象和建立刻板印象.20世纪以来,纪录片在影视文化传播中占据着特殊地位.首播于2016年的两部纪录片《女猎鹰人》和《相约未知地带——贵州篇》在描绘中国少数民族形象中展现了不同特点.尽管这些纪录片隶属多元文化,并试图将中国少数民族作为一种温情脉脉的正面形象呈现给西方观众,但文化本质主义元素仍然存在.在描绘中国少数民族形象时所采用的视点和策略具有现代手法,隐蔽策略,强调文化的距离、异质(差异性)和本质主义.
The Extraterritorial Generation of Minority Images in the New Century
There is a close relationship between film and culture.Film is a source of cultural and social representations constructed by filmmakers in a variety of ways,and can create images and establish stereotypes in people's minds.Since the 20th century,documentaries have been occupying a special position in the communication of film and television culture.Two documentaries,Female Falconer and Guizhou Chapter,premiered in 2016,show different characteristics in portraying the images of China's ethnic minorities.Although these multicultural documentaries attempt to present China's ethnic minorities as a warm and positive image to Western audiences,elements of cultural essentialism remain.The viewpoints and strategies adopted in depicting the images of Chinese ethnic minorities have modern techniques,concealment strategies,and emphasis on cultural distance,heterogeneity(difference)and essentialism.

minority imagewestern documentarycultural essentialismnarrative analysis

张艾

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广西艺术学院影视与传媒学院 戏剧影视文学系,广西 南宁 530022

少数民族形象 西方纪录片 文化本质主义 叙事分析

2017年度国家社会科学基金项目

17XZW017

2024

黑河学院学报
黑河学院

黑河学院学报

影响因子:0.169
ISSN:1674-9499
年,卷(期):2024.15(6)