摘要
"十七年"少数民族题材电影在中国电影史上有着独特的地位。一方面,在"十七年"的政治语境下,少数民族题材电影同汉族主流题材电影一样被置于"民族统一和大团结"与"革命加建设"的宏大叙事之中,有效地扮演了为新生的共和国政权树立意识形态权威的角色。另一方面,因取材于少数民族多彩、质朴而具有诗意的生活题材,同时源于一部分有良知、有自觉意识的电影艺术家的诚挚追求,少数民族题材电影以诗意化的表达方式呈现出对人情与人性的追求。这既是中国电影艺术家在新中国"十七年"的政治话语中"带着镣铐舞蹈"的努力,更是他们借助少数民族题材自觉延续和发展中国传统诗性美学的特色,形成少数民族题材电影类型的宝贵经验,这对当代中国电影的发展依然有重要的价值和意义。
Minority films produced during the ＂Seventeen Years （1949-1966） ＂have a unique position in the history of Chinese films. On one hand, minority films in that political context were placed in the grand narrative of ＂national unity and solidarity＂ and ＂revolution and construction＂ just like mainstream films subjected with Han nationality to effectively consolidate the ideological authority of the newly founded Republic regime. On the other hand, the minority films demonstrated the aspiration after sensibility and humanity with poetic expression as they stemmed from the colorful, simple and poetic minority life and partly it resulted from the cordial and conscious pursuit of filmmakers. It is the ＂dancing-in-shackles＂ effort that the filmmakers made in the political context of the ＂Seventeen Years＂ and it is also the conscious continuity and development of Chinese traditional poetic aesthetics. The rich valuable experience acquired in minority films is still of great value and significance to the development of the contemporary Chinese films.
出处
《贵州大学学报（艺术版）》
2016年第2期36-42,共7页
Journal of Guizhou University Art Edition
基金
2014年广西艺术学院博士科研启动基金项目
