【作者】 李淼；

【导师】 金丹元；

【作者基本信息】 上海大学 ， 电影学， 2013， 博士

【摘要】 中国少数民族题材电影是新中国电影中非常独特的一种“类型”，它一方面以边疆少数民族为表现对象，丰富了新中国电影的影像表现区间，另一方面又通过电影重塑了对边疆少数民族的文化想象，从而成为构建新中国政治共同体和文化共同体不可或缺的组成部分。而在数量和样式繁多的少数民族题材电影中，以云南少数民族为表现区间和主要内容的“云南少数民族题材电影”，无疑是这其中不可多得的一朵奇葩，占据着非常独特的地位。本文主要以1949年新中国成立至2010年，中国大陆生产的，以云南少数民族地区为影像表现区间，且以云南少数民族为主要或次主要角色的电影(故事片)为研究对象。通过文本细读、对比分析、史论结合、田野调查等方法，结合电影学、美学、社会学、文化人类学、传播学等理论，在梳理云南少数民族题材电影发展历程的基础上，以边疆想象、民族身份和文化认同为切入点，分析其各个历史阶段不同的叙事特征、美学风格，剖析各时期少数民族文化政策对电影创作的影响，以及这背后所体现出来的文化“场域”中的权力纠葛关系，力图探究云南少数民族题材电影怎样建构民族共同体的主体形象，解析少数民族电影与边疆少数民族想象之间的关系，从而进一步认识云南少数民族题材电影的文化本质和内涵。论文主要分为以下几个部分：第一部分为导论，阐明选题的缘起、意义和价值，并对文中涉及到的重要概念进行辨析，从而确立本研究的范围、内容、思路和研究方法。第一章主要梳理了社会历史语境中云南少数民族题材电影的创作流变，将云南少数民族题材电影创作分为“十七年”（1949——1966）、“新时期”（1978——1989）、“90年代”（1990——2001）、“新世纪”（2002——2012）四个阶段，探讨了各阶段内的云南少数民族题材电影的演变轨迹，指出云南少数民族题材电影创作与各时期的社会政治、文化、经济发展密切相关的事实。第二章借用本尼迪克特·安德森关于“民族是想象的共同体”的观点，从“异域想象”、“风情想象”、“少数民族形象想象”三个方面，探讨了云南少数民族题材电影中的“边疆想象”问题，并进一步借用空间文化理论，指出云南边疆想象是想象“乌托邦”与现实“异托邦”的空间意义生产。第三章从文化研究的视角，探讨了云南少数民族题材电影中民族身份认同的文化建构机制，电影文本投射出了“政治文化”、“中原文化”、“全球化”对少数民族族群身份的建构和认同的影响，并反映出了族群身份从内隐到突显的一个动态变化过程。第四章从电影叙事学角度，分析云南少数民族题材电影所内蕴的文化隐喻，从“疾病隐喻”、“社会性别隐喻”两大方面，分析了云南影像叙事文本在建构民族文化认同和国家政治身份认同中所起到的隐喻作用，从而阐明其文化建构意义。最后在结语部分，笔者认为云南少数民族题材电影为扩展中国电影的文化地图起到了不可磨灭的作用，同时，也为参与建构中华民族多元一体的民族文化身份起到了重要意义。但需要指出的是，与严格意义上的“少数民族电影”相比，真正由云南少数民族创作者拍摄，真实反映云南边疆少数民族生活，并具有云南少数民族文化主体性的“云南少数民族电影”还没有出现。云南少数民族电影的发展任重而道远。更多还原

【Abstract】 Among all types of films in post-1949China, films about minority groups aredistinct. On the one hand, these films take minority groups of China as subjects andcontribute to the visual representations in new China; on the other hand, they rebuildthe cultural imagination about frontier minorities and join in the process ofconstructing the political and cultural community of China. And among them, filmsabout Yunnan’s minority groups are extraordinary and play an important role. Thisdissertation looks at fiction films produced in China’s mainland from1949to2010,with minority groups of Yunnan as the major or secondary subjects. Drawing insightsfrom film studies, aesthetics, sociology, cultural anthropology and masscommunication, this workcombines textual research, comparative analysis, andhistorical theories with fieldwork investigation to reach the goal. Based upon a reviewof the historical development of Yunnan’s minority films, and setting three mainthemes, namely imagined frontier, ethnic identification and cultural construction, thisdissertation attempts to1) analyze the different narrative and aesthetic styles ofYunnan’s minority films during different periods;2) understand the impact of politicalpolicy on minority films production across time and the political disputes behind thevaried cultural spaces;3) examine the role of Yunnan’s minority films in constructingthe image of ethnic community;4) find out the relationship between minority filmsand the imagination about frontier minority groups;5) disclose the cultural essenceand intrinsic meanings of minority films about Yunnan.The dissertation is composed of the following parts:Introduction starts with the origin and value of this research, introduces the keyconcepts, and sets the scope, contents, framework and methodology of thisdissertation.Chapter1traces the history of Yunnan’s minority filmsin four historical periods:"the seventeen years"(1949-1966),"the new era"(1978-1989);"the1990s"(1990-2001),"the new century"(2002-2012). This chapter focuses on examining how the film styles had been shaped by different social, political, cultural and economiccontexts.Drawing upon the point that "ethnicity is imagined community" by BenedictAnderson, Chapter2discusses about the "imagined frontier" in Yunnan’s minorityfilms from the imaginations about "the exotic,""the customs" and "the other." Andwith the aid of spatial culture theories, this chapter argues that the imagination aboutYunnan is intrinsically the production of spatial meanings out of the interplay betweenutopia in imagination and that in reality.Chapter3looks at the ethnic identification and cultural construction in Yunnan’sminority films from the angle of cultural studies. It argues that films reflect the impactof "political culture,""central culture" and "globalization" on ethnic identificationand cultural construction, and also disclose the dynamic transformation of ethnicidentity from the implicit to the explicit.Chapter4borrows methods from film narratives to examine the culturalmetaphor embedded in Yunnan’s minority films. It analyzes the metaphorical role andmeanings of visual narratives about Yunnan in reconstructing ethnic identification andnational identification from the aspects of "disease metaphor" and "gender metaphor."The author concludes that Yunnan’s minority films contribute greatly to thedevelopment of film culture in China, and also contribute to the ethnic culturalconstruction of China’s multiple as well as unified nationalities. The author points out,however, that the strict sense of Yunnan’s minority films—namely produced byminority groups themselves, displaying the realities of minority groups’ lives, andwith the minority groups as the cultural subjects—haven’t yet really arrived, and stillawait great effort.更多还原