人文纪录片中信仰仪式的美学变迁

发布时间：2018-05-09 13:59

本文选题：仪式思维 + 结构　；参考：《西北大学》2013年博士论文

【摘要】：文章借助“仪式思维”的视角,以新时期的人文纪录片为研究对象,从仪式过渡层面分析中国纪录片中政治信仰和生命信仰仪式的美学变迁。在“过渡”过程中,人文纪录片中注重权力宣示的“结构”模式和注重生命延续的“交融”模式互相作用,在这两种模式形成的张力中产生了艺术。人文纪录片中整体信仰仪式表现为从政治信仰逐步过渡到政治信仰与生命信仰交织的状态,最后逐渐形成以生命信仰为主导的交融状态。本文的立足点是杨庆X对中国宗教信仰中的“扩散性”特征以及范热内普对仪式研究的“分隔——边缘——聚合”三步过程理论,同时还使用了黑格尔《美学》中提到的三种艺术类型。改革开放以后到90年代初,中国纪录片的美学类型属于象征型艺术,信仰仪式主要以固化政治信仰的公共崇拜为主,“天人合一”的审美范式对应着国家社稷崇拜；90年代初到新世纪初年,古典型艺术占据主导地位,公共崇拜与私人信仰的交织拓展了“家庭”私人空间,“祖宗崇拜”延伸出现代的伦理社会和个体的生命信仰；体制内纪录片的社稷崇拜的现代性内核是“天下观”,“天命”崇拜则延伸为“革命崇拜”；从新世纪初年至今,人文纪录片进入了浪漫型艺术时期。访谈手法的运用,使得审美主体能够摈弃现实的偶然性,最终达成与自身理念的和解。基于公共崇拜的权力宣示仪式转向了个人生存仪式,仪式过程进入了“交融”时期,纪录片起着打破僵化社会结构,重新恢复主体活力的作用。本文主要分为六个章节,第一章首先从理论上研究了原始宗教信仰的现代演变,指出基于“天祖崇拜”的世俗权力崇拜是中国人信仰的底色,形成了权力优位型的信仰模式；第二章探讨象征型纪录片中政治信仰仪式的呈现。第三章和第四章属于古典型纪录片的研究部分。第三章着重从开拓私人信仰领域,强化生命信仰仪式的角度出发,探讨分隔仪式的艺术呈现。第四章则强调过渡仪式中的公共崇拜。第五、六章探讨浪漫型纪录片中公共崇拜和私人信仰交织的演变,第五章探寻“直接电影”的哲学基础,第六章从“真理电影”的风格出发,通过浪漫型艺术中的“精神的和解”来研究“交融”仪式所具有的活力。最后的结论为在中国纪录片中存在着公共崇拜和私人信仰的对立,仪式上表现为“结构”和“交融”模式的博弈,作为“宰制力量”的“结构”仪式设定层级,呈现“反抗精神”的“交融”模式恢复主体的活力,最终进入到一场争夺文化权力的场域中。
[Abstract]:From the perspective of "ritual thinking", this paper analyzes the aesthetic changes of political belief and life belief ritual in Chinese documentaries from the perspective of "ritual thinking" and taking humanistic documentaries in the new period as research objects. In the process of "transition", the mode of "structure" which emphasizes the declaration of power and the mode of "blending" which pays attention to the continuation of life interact with each other in the humanistic documentary, which produces art in the tension formed by these two models. The ritual of the whole belief in the humanistic documentary shows the transition from the political belief to the intertwined state of the political belief and the life belief, and finally forms the blending state dominated by the life belief. The foothold of this paper is Yang Qing's "diffusive" characteristics of religious belief in China and Fan Zenape's three-step theory of "separation-edge-aggregation" in the study of ritual. The three types of art mentioned in Hegel's Aesthetics are also used. From the reform and opening up to the early 1990s, the aesthetic types of Chinese documentaries belong to symbolic art, and the ritual of belief is mainly public worship, which solidifies political beliefs. The aesthetic paradigm of "the unity of nature and man" corresponds to the national worship of the state, from the beginning of 1990s to the beginning of the new century, the ancient typical art occupies a dominant position, and the interweaving of public worship and private belief expands the private space of "family". "ancestral worship" extends out of the modern ethical society and individual life belief; the modern core of social state worship in the system is the "view of the world", while the worship of "destiny" extends to "revolutionary worship"; from the beginning of the new century to the present, Humanistic documentary has entered the period of romantic art. The use of interview techniques enables the aesthetic subject to abandon the contingency of reality and finally reach reconciliation with his own ideas. The ceremony of power declaration based on public worship turned to the ritual of individual existence, and the ritual process entered the period of "blending". Documentary film played the role of breaking the rigid social structure and restoring the vitality of the subject. This paper is divided into six chapters. The first chapter theoretically studies the modern evolution of the primitive religious belief, and points out that the secular power worship based on the "worship of Heaven ancestor" is the foundation of the Chinese belief and forms the belief mode of the superior position of power. The second chapter discusses the presentation of the ceremony of political belief in symbolic documentary. The third chapter and the fourth chapter belong to the ancient typical documentary research part. The third chapter focuses on exploring the field of private belief and strengthening the ritual of life, and discusses the artistic presentation of the ceremony of separation. The fourth chapter emphasizes the public worship in the transition ceremony. The fifth and sixth chapters explore the evolution of public worship and private belief in romantic documentaries, the fifth chapter explores the philosophical basis of "direct film", and the sixth chapter starts from the style of "truth film". Through the romantic art of "spiritual reconciliation" to study the "communion" ceremony has the vitality. The final conclusion is that there exists the opposition between public worship and private belief in Chinese documentaries, and the ritual shows as a game between "structure" and "blending", which is regarded as the "structure" ritual setting level of "dominating power". The "communion" mode, which presents "the spirit of resistance", restores the vitality of the subject and finally enters the field of scrambling for cultural power.
【学位授予单位】：西北大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：B83-0;J952

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