西藏影像的叙事符号与文化意蕴

发布时间：2018-03-25 20:12

本文选题：西藏影像　切入点：叙事符号　出处：《浙江师范大学》2014年硕士论文

【摘要】：在当代文化艺术视野中,作为文化镜像的表述空间,西藏在中国艺术领域被不断地书写和言说。在文化地理学的话语浪潮与电影版图的文化景观冲击下,西藏影像也在中国电影史中被重新想象与建构。本文梳理西藏影像在不同发展时期的历史脉络,选取以《农奴》、《红河谷》、《盗马贼》、《喜马拉雅》、《可可西里》、《西藏往事》等经典西藏影片,从地域标识、民族符号和文化意蕴等方面提炼西藏影像的叙事元素,解读电影文本里集中呈现的地域物象,探讨影像背后的深层民俗事项与文化意义,以期获取西藏影像研究的民族品格与美学价值。第一章重点梳理建国以来西藏影像的历史脉络。西藏影像在不同阶段电影生态环境下呈现出独特的发展态势。在发轫期,民族政策与十七年主流政治思潮并肩,电影的意识形态诉求不言而喻。新时期的西藏影像呈现出由主流文化对地域奇观的凝视与想象境遇的叙事模式,很多优秀影片被搬上银幕,以雪域高原的绮丽风光、神圣空灵的佛教文化和传奇的民族镜像,在西南版图上形成具有独特审美品格的地理景观。新世纪以来,西藏影像的发展趋向融合与多元化碰撞,建构了新西藏的本土风貌以及传统与现代多元并置的文化构想,影像记录重新诠释了对地域文明的新的表达方式。第二章着重塑造西藏影像的地域标识。在“天、地、人”的纵深层次上,从自然符号、生存场所与叙事空间三个角度分析西藏影像原生态的自然景观与空间意义。在高山大川的俯仰视野和流动的生命延续中探寻人的生存境况,进而寻找空间想象中的美学诉求与审美存在,完成地理图景与美学影像的双重书写,进一步深入藏地高原的文化版图,赋予其独特的美学理念,彰显出中国电影美学特征。第三章解读西藏影像的民族符号。从物质器物与精神内容两个层面,呈现西藏影像中由地表符号与外在风貌等家园特色所构成的日常生活符号体系,在民俗事项传承中挖掘可知可感的物质民俗奇观与衍生出的社会民俗仪式的符码意义,通过诸多蕴含地域聚合力的民俗符号的象征性运用,探究西藏影像中的民族风貌与审美观念。第四章深度挖掘西藏影像中蕴藏的文化意蕴和民族精神。在西藏影像所表达的想象性关系与虚构存在中,以充斥着浪漫想象的神话传说等艺术形式和传统民间表演艺术的灵性叙事凝聚着民族文化的集体认同,在对宗教元素的具象呈现和民间文化的贯穿中完成对精神信仰的崇高表达,从而提炼出西藏影像的民族品格与文化风韵。
[Abstract]:In the view of contemporary culture and art, Tibet, as the expression space of cultural mirror, has been constantly written and spoken in the field of Chinese art. Under the impact of the discourse wave of cultural geography and the cultural landscape of film territory, Tibetan images have also been reimagined and constructed in the history of Chinese cinema. Select classic Tibetan films, such as serfs, Red Valley, stolen Horse thieves, Himalayas, Hoh Xili, the past of Tibet, and so on, to refine the narrative elements of Tibetan images from such aspects as geographical identification, ethnic symbols and cultural connotations, etc. In order to obtain the national character and aesthetic value of Tibetan image research, this paper interprets the regional images concentrated in the film text, and probes into the deep folklore matters and cultural significance behind the images. The first chapter focuses on sorting out the historical context of Tibetan images since the founding of the people's Republic of China. Tibetan images show a unique development trend under different stages of film ecological environment. In the initial period, ethnic policies were side by side with the mainstream political trends of 17 years. The ideological demands of the film are self-evident. The Tibetan images of the new period show a narrative pattern of gaze at and imagination of regional wonders by mainstream culture. Many excellent films have been brought onto the screen, with the beautiful scenery of the snow-covered plateau. The sacred and empty Buddhist culture and the legendary national mirror image form a geographical landscape with unique aesthetic character on the southwest territory. Since the new century, the development of Tibetan images has tended to merge and collide with pluralism. It constructs the local style of New Tibet and the cultural conception of traditional and modern plural juxtaposition, and the video record reinterprets the new expression of regional civilization. The second chapter focuses on the regional identification of the image of Tibet. In the depth of "Heaven, Earth, Man," from the natural symbol, This paper analyzes the natural landscape and spatial significance of Tibet's original image ecology from three angles of living place and narrative space, and explores the living conditions of human beings in the pitching vision and flowing life of high mountains and great rivers. Then it seeks the aesthetic appeal and aesthetic existence in space imagination, completes the double writing of geographical picture and aesthetic image, further deepens the cultural map of Tibetan plateau, endows it with its unique aesthetic idea, and highlights the aesthetic characteristics of Chinese film. The third chapter interprets the national symbols of Tibetan images. From the two levels of material objects and spiritual contents, it presents the symbol system of daily life in Tibetan images, which is composed of land surface symbols and external features, etc. Excavating the sense of material folklore wonders and the derived symbol meaning of social folklore ritual in the inheritance of folklore matters, through the symbolic application of many folk custom symbols which contain regional cohesion, Explore the Tibetan image of the national style and aesthetic concept. Chapter four explores the cultural implication and national spirit contained in Tibetan images. In the imaginative relations and fictional existence of Tibetan images, The spiritual narration of traditional folk performing arts, such as myths and legends full of romantic imagination, condenses the collective identity of national culture. In the representation of religious elements and the penetration of folk culture, the lofty expression of spiritual belief is completed, thus extracting the national character and cultural charm of Tibetan images.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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