【摘要】：象征是電影常用的"話語(yǔ)"方式,國(guó)內(nèi)少數(shù)民族電影從產(chǎn)生初期就自覺(jué)地?zé)嶂杂谙笳魇址ǖ氖褂?并在之后不斷進(jìn)行探索。但是,國(guó)內(nèi)外相關(guān)研究并沒(méi)關(guān)注到少數(shù)民族電影象征手法使用的流變過(guò)程,對(duì)于當(dāng)前電影廣泛使用的象征也沒(méi)做優(yōu)劣的辨析。在此,梳理中國(guó)少數(shù)民族電影象征手法的運(yùn)用歷程,并以藏族導(dǎo)演萬(wàn)瑪才旦拍攝的《靜靜的嘛呢石》為例,說(shuō)明少數(shù)民族電影在象征手法的使用中,弱假定象征可成為少數(shù)民族電影的優(yōu)勢(shì)話語(yǔ)策略之一。
[Abstract]:Symbolism is a commonly used "discourse" method in films. The minority films in China have been consciously keen on the use of symbolism since the beginning of its emergence, and have been exploring it since then. However, relevant studies at home and abroad did not pay attention to the changing process of the use of symbolism in minority films, and did not discriminate the merits and demerits of the symbols widely used in current films. Here, combing the use of symbolic techniques in Chinese minority films, and taking "quiet Stone" shot by Tibetan director Wan Ma Caidan as an example, to illustrate the use of symbolism in minority films. Weak hypothetical symbolism can become one of the dominant discourse strategies in minority films.
【作者單位】： 四川民族學(xué)院;
【基金】：四川省教育廳重點(diǎn)科研項(xiàng)目“當(dāng)代康巴作家文學(xué)研究”(項(xiàng)目編號(hào):16SAO138)
【分類號(hào)】：J905
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本文編號(hào)：2388430