影视人类学视阈下的龙额侗寨影像志研究

发布时间：2018-04-11 17:38

本文选题：龙额侗寨影像志 + 影视人类学　；参考：《四川师范大学》2017年硕士论文

【摘要】：影视人类学(Visual Anthropology)是人类学体系中方兴未艾且交叉广泛的一门分支学科,由于其依靠可视图像(照片、图片、影像资料等)这一载体来调查和记录人类文化的变迁,也通过可视图像来解读和阐释丰富浩瀚的人类文化内涵,所以在学术研究和理论阐释过程中都是极其重要的手段之一。影视人类学界一直在探寻拍摄者与被摄者的关系问题,为了解决这个创作视野的问题,从而有了分享人类学(Shared Anthropology)的概念,最后发展成为社区影像(Community Video)这一分支,在中国也被翻译成“乡村影像”、“村民影像”。不同于外部视野拍摄的影像民族志,龙额侗寨的乡村影像是由村民内部发起的一场文化自救,是他们自发地拿起摄影机,开始记录和传承自己村寨的历史、文化的系列影片。通过《侗布》、《侗寨茶情》、《全家福》、《故乡》这几部影片的拍摄,我们能看到龙额侗寨公益团队的侗族青年们从关注细微的生活细节(衣、食),到关注家庭血缘关系的维系,再到“龙额河歌”这一民间艺术对他们整个民族的凝聚,甚至对“乡愁”这一人类共通的主题有了自己的思考和看法。本文首先对龙额侗寨的乡村影像志的创作者进行展示,主要呈现出龙额影像志的“生产过程”,并从其生存环境、团队成员和生活经历三个方面分析他们创作的原因;第二章将重点放回到龙额影像志本身,来对其人类学信息进行解码,即上述四部影片包含的文化信息究竟是什么?第三章将探讨这种乡村影像志就真的能解决影视人类学中长久以来的矛盾问题么?并从真实性问题、拍摄视野问题、历史和艺术价值问题以及影视伦理四个理论方面进行分析;最后一章将论证龙额影像志的功能和意义,既要肯定他们在影像民族志创作史上的有力声音,也要讨论龙额乡村影像对当地民族的意义。
[Abstract]:Visual Anthropology (Visual Anthropology) is a branch of anthropology system. It relies on visual images (photos, pictures, images, etc.) as a carrier to investigate and record the changes of human culture.Visual images are also used to interpret and explain the vast human cultural connotation, so it is one of the most important means in the process of academic research and theoretical interpretation.The field of film and television anthropology has been exploring the relationship between the photographer and the subject. In order to solve the problem of creative vision, the concept of shared Anthropology (shared Anthropology) has developed into a branch of Community Video.In China, it has also been translated as "Village Image" and "Village Image".Different from the images taken from the external field of vision, the village images of Longyan and Dong villages are a cultural self-help initiated by the villagers. They spontaneously pick up the cameras and begin to record and inherit the history and culture of their own villages.Through the filming of "Dong cloth", "Dongzhai Tea situation", "Family Photo" and "hometown", we can see that the Dong youth in the public welfare team of Longyin, Dong village, from paying close attention to the details of their lives (clothing, food, food, and family kinship), can see that they are concerned about the maintenance of family kinship.Then, the folk art of "Song of the long'e River" condensed their whole nation, and even had their own thoughts and opinions on the common theme of "homesickness".In this paper, the authors of the village image chronicles of Longyan Dong village are first displayed, which mainly presents the "production process" of the images, and analyzes the reasons for their creation from three aspects: the living environment, the team members and the life experience.The second chapter will focus on the dragon image itself to decode the anthropological information, that is, what is the cultural information contained in the above four films?The third chapter will discuss whether this kind of rural imageography can really solve the long-standing contradiction problem in film and television anthropology.The last chapter will demonstrate the function and significance of Longyan image chronology, and analyze it from four aspects: authenticity, shooting field of vision, history and artistic value, and film ethics.It is necessary not only to affirm their strong voice in the history of image ethnography creation, but also to discuss the significance of the image of Longe Village to the local people.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J952

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