蒙古族电影中的族群认同与国家认同的关系研究

发布时间：2018-04-19 15:16

本文选题：蒙古族 + 电影　；参考：《吉首大学》2014年硕士论文

【摘要】：随着经济的发展，人类文化交流的增强，他者文化的不断介入，在今天，有关身份认同的问题，比历史上的任何时候都变得更为突显。“认同”问题近年来之所以会引起社会各界的关注，是因为在身份认同中“自我”与“他者”的区分，尤其是探究“我是谁”的这一论题，在文化交流异常频繁的语境下，显得格外引人注目和异常重要。本文以新中国55个少数民族中最有代表性的蒙古族电影作为研究对象，考察新中国成立六十年来，蒙古族电影中的国家认同、族群认同在不同的历史语境中的关系状态及其历史演变，通过对具有代表性的蒙古族电影中的故事情节、人物对话、场景描述的分析，我们发现，在十七年时期，为了大一统国家政权的建设，蒙古族电影中国家认同对族群认同进行了弱化。文革结束之后（1977年）到20世纪90年代，这十余年的时间里，国家政权相对稳定，经济文化稳步发展，蒙古族电影集中展现的核心观念则是民族融合，与此同时，国家开始允许少数民族对于自我个性的张扬，，民族话语逐渐融入国家话语。最后，在世界经济融合以及文化互通的新时期（20世纪90年代至今），蒙古族经典电影文本中，展现出来更多的是辽阔的大草原、奔驰的骏马、特有的民族服饰、经典的歌舞等具有蒙古族特色的民族特性，衍生出的对本民族内涵的挖掘、深刻的民族自省与反思。从历史的角度看，蒙古族题材的电影中，国家认同与族群认同经历了此消彼长的历史嬗变过程。本文通过对这一系列蒙古族的经典电影文本的分析，揭示了蒙古族电影中国家认同与族群认同这两者在新中国六十年的历史文化变迁中的错综复杂的关系以及两者相互作用的内在机制和历史文化动因。
[Abstract]:With the development of economy, the enhancement of human cultural exchange and the continuous intervention of other culture, the issue of identity has become more prominent than at any time in history.The problem of "identity" has attracted the attention of all circles of society in recent years because of the distinction between "self" and "other" in identity, especially the topic of "who I am", in the context of frequent cultural exchanges.It is especially noticeable and very important.This paper takes the Mongolian films, which are the most representative of 55 ethnic minorities in New China, as the research object, and examines the national identity of the Mongolian films in the 60 years since the founding of the people's Republic of China.The relationship between ethnic identity in different historical contexts and its historical evolution, through the analysis of the story plot, character dialogue, scene description in representative Mongolian films, we find that in 17 years,In order to unify the state power, the national identity in Mongolian films weakens ethnic identity.From the end of the Cultural Revolution (1977) to the 1990s, during these ten years, the state power was relatively stable, the economy and culture developed steadily, and the core concept of Mongolian films concentrated on ethnic integration, at the same time,The state began to allow ethnic minorities to promote their own personality, and the national discourse gradually integrated into the state discourse.Finally, in the new period of world economic integration and cultural exchange, since the 1990s, the Mongolian classic film texts show more of the vast prairie, the galloping steed, and the unique ethnic costumes.Classic songs and dances with Mongolian characteristics of the national characteristics, derived from the excavation of the national connotation, profound national introspection and reflection.From the historical point of view, the national identity and ethnic identity in Mongolian films have undergone the historical evolution.Through the analysis of this series of Mongolian classic film texts,This paper reveals the intricate relationship between national identity and ethnic identity in the historical and cultural changes of 60 years of New China, and the internal mechanism and historical and cultural motivation of the interaction between the two.
【学位授予单位】：吉首大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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