民族影像中的国家、市场与权利——21世纪少数民族电影的政治经济学

发布时间：2018-04-20 06:24

本文选题：少数民族题材电影 + 微电影　；参考：《民族艺术》2016年05期

【摘要】：21世纪以来,随着电影产业化改革的不断深入,资本与市场日渐成为电影生产的主导性力量。而资本的逐利本性决定着电影生产必须迎合主流观影群体的文化趣味,这使得处于边缘化的少数民族题材电影普遍受到影视传媒公司的漠视。与此同时,政府为维护民族团结,对少数民族题材电影创作提出了诸多意识形态诉求,使其成为一项颇具政治风险的文化选择。在这种利润诉求与政治避险的双重驱使下,21世纪以来的少数民族题材电影非但没有随着电影产业的繁荣而再创辉煌,反而愈加被排斥在公众视野之外。尽管近年微电影的兴起,似乎给少数民族题材电影带来了一丝希望的曙光,但这种表面的影像民主并不能掩盖其在市场化语境下必然要陷于互联网经济的巨大"魔咒"之中的宿命。因此,为了保障少数民族的影像权利,必须借助一些非市场的力量来推动少数民族电影事业的发展,从而促进社会公平、实现民族平等。
[Abstract]:Since the 21 st century, with the deepening of the reform of film industrialization, capital and market have become the leading force of film production. The profit-driven nature of capital determines that the film production must cater to the cultural tastes of the mainstream film viewing groups, which makes the marginalized minority films generally ignored by the film and television media companies. At the same time, in order to maintain national unity, the government put forward a lot of ideological demands on the creation of minority films, making it a political risk of cultural choice. Driven by this kind of profit demand and political risk aversion, the minority films of the 21st century have not created a new glory with the prosperity of the film industry, but have been increasingly excluded from the public view. Although the rise of micro-films in recent years seems to have brought a glimmer of hope to minority films, However, this kind of apparent image democracy can not cover up its fate in the market-oriented context, which is bound to fall into the "magic spell" of the Internet economy. Therefore, in order to protect the image rights of ethnic minorities, we must use some non-market forces to promote the development of minority film industry, thus promoting social equity and achieving national equality.
【作者单位】：中国传媒大学艺术研究院;
【分类号】：J905

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