上海大学学报(社会科学版) ›› 2020, Vol. 37 ›› Issue (3): 18-27.

• 影视理论研究 • 上一篇    下一篇

在野与守望:以影视人类学视角反思少数民族影视创作#br#

  

  1. 中央民族大学 影视人类学研究中心
  • 出版日期:2020-05-15 发布日期:2020-09-24

Marginality and Subjectivity: Reflections on Film & TV Creations about #br# Ethnic Groups from the Perspective of Visual Anthropology#br#

  • Online:2020-05-15 Published:2020-09-24

摘要: 影视人类学作为人类学体系当中主要涉及影像创作与研究的分支学科,自学科诞生之日起,即与世界范围内的少数民族、边缘群体或传统知识的影像表达建立了广泛而深刻的联系。当代影视人类学在民族志电影创作中,通常会遵循一套相对规范的学术准则,以确认影像的学术价值、伦理边界与社会责任。影视人类学反对民族影像创作中的“内部东方主义”与“自我东方主义”,倡导体现少数民族自我发声的“主位电影”,主张在民族社区的语境中观照影像作品对于民族身份认同、文化传承与反思等方面的多元价值。总之,影视人类学更强调文化持有者的权利,反对外来者的影像剥削,它应该被定位为整个民族影视创作与研究体系中的“清醒剂”。

关键词: 关键词: 影视人类学, 民族影视, 电影本体, 主位电影, 文化主体性

Abstract:  As a branch of anthropology, visual anthropology is mainly involved in image creation and research. Since the birth of the discipline, it has established wide and profound connections with image expressions of ethnic minorities, marginal groups or traditional knowledge across the world. Contemporary visual anthropology usually follows a set of relatively standard academic norms in producing ethnographic films, to ensure their academic value, ethical boundaries and social responsibility. It opposes “internal oritentalism” and “selforientalism”, advocates the “hostpositioned films” in which ethnic minorities express themselves, and highlights the role of ethnic community context in which the multiple values of image works are revealed, including ethnic identification, cultural inheritance and cultural reflection. In short, visual anthropology places more emphasis on the rights of cultural holders while opposing image exploitation by outsiders, so it acts as a “dose of sobriety” in the whole national systme and film & TV creation and research.

Key words: Key words: visual anthropology, ethnic films and TV programs, film noumenon, hostpositioned films, cultural subjectivity