民族影像与现代化加冕礼

【作者】 王华；

【导师】 吕新雨；

【作者基本信息】 复旦大学 ， 广播电视学， 2010， 博士

【副题名】新中国少数民族题材纪录片历史与建构（1949-1978）

【摘要】 本文结合中国社会主义实践的复杂进程与影像生产的具体语境,系统梳理和探讨了1949-1978年少数民族题材纪录片。研究认为,作为中国纪录片花园中一簇绚丽的鲜花,少数民族题材纪录片以质朴、直观的影像,记录了三十年间少数民族的政治、经济、社会与文化状况,再现了少数民族地区和人民进行社会主义革命和建设的光辉历程与伟大成就。这种记录和展现也在影像层面赋予了少数民族一种地位,向世界宣告了少数民族共和国主人的身份,他们享有一切平等权利,与全国人民一道团结、互助,在社会主义中国的现代化探索中前行。第一章宏观地考察了新中国少数民族影片生产的历史环境和政策规定,从而说明少数民族题材纪录片在新中国高调出现与迅速发展的原因及其背景。第二章主要分析了这一时期少数民族题材纪录片制作的国家主导特性。首先介绍了少数民族题材纪录片解放前的简要发展历程,尔后,从影片主管部门、生产机构、思想方针、摄制队伍、资金来源等角度解读了“国家主导”。本章还介绍了建国初电影放映情况以及少数民族地区观影条件,以此来探究少数民族题材纪录片传播的可能性与广泛性。第三章到第六章则根据影片书写内容与时代特性,将1949-1978年少数民族题材纪录片划分为“从战事‘拾零’到民族大团结想象(1949-1952)”、“向着伟大的建设时代前进并记录(1953-1957)”、“‘无限风光在险峰’(1958-1965)”和“文化钳制下的跋涉与恢复(1966-1978)”四大阶段,认为影片紧密契合新政府民族政策,在解放、生产、团结与文化的主题下,再现了少数民族工农业经济和社会生活情况,宣扬了独立、统一、建设和坚持中央政权领导等民族国家意识和平等、互助、革命等社会主义意识形态,既教育了全国人民,也促进了中华各民族间的相互了解和共同体想象。第七章分析了这一时期少数民族题材纪录片的表现模式,认为它们践行的是一种解释型纪录,这种纪录模式有利于制作主体价值观念和影片思想主题的宣达。应该说,少数民族题材纪录片不仅记录了少数民族地区和人民的生产与生活,同样也折射出这一时期中国大社会的整体形态与变迁。当然,在当时特定的政治、政策干预下,少数民族题材纪录片难免带有极强的时代色彩,但如果实事求是地来分析这些作品,我们不得不承认：少数民族题材纪录片奠定了这一类影片的总体基调,诠释了社会主义文化平等的独特内涵,再现了少数民族多样的生活方式。这些影片关注少数民族地区的建设与生产,关注各民族间的平等、团结与互助,关注着少数民族人民运命,记录了新中国时期不断发展的民族地区现实和朴实、热情、善良的少数民族人民,处处洋溢着奋发、乐观、勇敢、向上的精神,歌颂着普通劳动者、战斗情谊、爱国主义和社会主义价值观,在进行意识形态形象化展示,再现少数民族人民社会主义建设情景的同时,也为中华各族人民描绘了未来的美丽生活,一幅幅画卷值得憧憬,激发着各族人民团结奋进。作为一次独特的民族影像实践,新中国少数民族题材纪录片对世界纪录电影事业做出了贡献。更多还原

【Abstract】 Documentaries on minority subjects from 1949 to 1978 were discussed systematically in this paper, combined with the complex process of China’s socialist practice and the specific context of video production.As a bunch of gorgeous flowers in the garden of Chinese documentaries, documentaries on minority subjects recorded the conditions of politics, economy, society and culture of minorities with simple and direct images, and represented the great achievements of the socialist revolution and construction in these regions. The status of minorities as the masters of Republic of China was presented by these documentaries through images. The minorities, together with others, share the equal rights and work for the socialist modernization of China.The historical environment and policies of the production of minority films were investigated in Chapter 1, to indicate the reasons and background of the emergence and rapid development of documentaries on minority subjects.The state-led characteristic of documentaries on minority subjects was analyzed in Chapter 2. Firstly, the brief development process of documentaries on minority subjects before liberation of China was introduced. Then this state-led characteristic was interpreted in the terms of the administrative departments, productive departments, the guidelines and policies, shooting teams, and funds. The conditions of movie projection and the circumstance of viewing in the early years of new China were described to investigate the possibility and universality of the transmission of the documentaries on minority subjects.The documentaries produced from 1949 to 1978 were divided into four periods: From Sidelights of Warfare to Imaginations of Great National Union (1949-1952), Go forward the Great Era and Record (1953-1957), Fabulous Sights on the Submit (1958-1965), the Trudge and Recovery Under the Cultural Muzzle (1966-1978). These movies corresponded to the national policies of the new government closely, presented the conditions of economy and society of minorities and propagated the ideologies. They educated the whole nation as well as promoted the mutual understanding and imaginations among Chinese peoples.The pattern of performance was analyzed in Chapter 7, and was regarded as a practice of interpreted record, for its superiority in expressing the main values and themes of these movies.Documentaries on minority subjects not only recorded the life of minorities but also reflected the conditions and transitions of the society in the same period. Inevitably, these documentaries showed strong symbols of the specific period with the influence of specific policies. However, these documentaries settled the keynote of this sort of movies to interpret the unique meaning of socialist culture-equality and represent the variety of minorities’ life. These movies focus on the construction and production, the harmonious relationships among peoples and the destiny of minorities. These movies have recorded the continuous development and the simple, warm, kind-hearted people of the ethnic regions after 1949.These movies were permeated with exertion, optimism and courage. The ideology was presented with the exaltation of socialist values. Meanwhile, an exciting picture of the future of Chinese peoples was portrayed.As a unique practice of images on ethnic minorities, Chinese documentaries on minority subjects have contributed to the documentary film industry of the world.更多还原