塞夫、麦丽丝电影叙事中的文化身份创建

发布时间：2018-05-19 09:24

本文选题：蒙古族 + 电影　；参考：《内蒙古大学》2013年硕士论文

【摘要】：论文以蒙古族导演塞夫、麦丽丝所执导的蒙古族电影《一代天骄成吉思汗》、《东归英雄传》、《骑士风云》、《悲情布鲁克》、《天上草原》为研究对象,运用文化研究理论,对蒙古族电影叙事与文化身份的建构进行了结构性细读。第一章中简略介绍了蒙古族电影史,界定了蒙古国电影、内蒙古电影、蒙古题材电影和蒙古族电影的概念,并概述了论文主要研究对象蒙古族导演塞夫、麦丽丝和他们的作品。第二章中重点探讨了塞夫、麦丽丝执导的蒙古族电影叙事中的蒙古地域叙事和民族话语的运用。笔者认为,塞夫、麦丽丝电影叙事中蒙古地域呈现为三种符号,即生命之乡、蒙古文化之乡和科学之乡。其次,分析了电影叙事和民族话语的关系及话语体现的文化身份。第三章中探讨了塞夫、麦丽丝执导的蒙古族电影叙事当中的文化符号问题。作者选取苏鲁定、马奶酒和蒙古服饰等三种蒙古文化符号,揭示在电影叙事中的文化意义和象征含义。第四章中主要分析了蒙古族电影叙事中的社会习俗、生活习俗、生产习俗和宗教习俗,重点探讨了蒙古族传统丧礼习俗、马文化习俗、萨满教习俗和佛教习俗在电影中的呈现,从而指出了在习俗文化叙事中的文化他者化和文化误解问题,并指出电影中的习俗叙事能再现己消失的文化习俗。最后,探讨了塞夫、麦丽丝执导的蒙古族电影叙事所表达的蒙古族文化思维、文化性格和文化精神。笔者认为,蒙古族信仰萨满教万物有灵之说,同时由于游牧生产方式对大自然的依赖性很大,再加上佛教的关爱生命观和普渡思想影响,形成了蒙古族独特的文化思维、性格和精神组成。这些在塞夫、麦丽丝电影中均有表现。
[Abstract]:The thesis takes Mongolian film "Genghis Khan", "East return to heroism", "knighthood", "sad Brook" and "the Prairie of Heaven", which are directed by Mongolian directors Seifu and Melis, as research objects, and applies the theory of cultural research. The structure of Mongolian film narration and cultural identity is read in detail. The first chapter briefly introduces the history of Mongolian film, defines the concepts of Mongolian film, Inner Mongolia film, Mongolian theme film and Mongolian film, and summarizes the main research object of the thesis, Mongolian director Saif, Melis and their works. The second chapter focuses on the Mongolian regional narration and the application of national discourse in Mongolian film narration directed by Seif and Myers. The author thinks that Mongolian region is represented by three kinds of symbols in the narration of Seifu and Melis, that is, the hometown of life, the hometown of Mongolian culture and the hometown of science. Secondly, it analyzes the relationship between film narration and national discourse and the cultural identity of discourse. The third chapter discusses the cultural symbols in the narration of Mongolian films directed by Seif and Melis. The author chooses three kinds of Mongolian cultural symbols, such as Suludine, Milky Wine and Mongolian dress, to reveal the cultural significance and symbolic meaning in the film narration. The fourth chapter mainly analyzes the social custom, life custom, production custom and religious custom in the narration of Mongolian film, and discusses the Mongolian traditional funeral custom, horse culture custom, shamanism custom and Buddhist custom in the film. This paper points out the problems of cultural otherness and cultural misunderstanding in the narrative of custom culture, and points out that the narrative of custom in the film can reproduce the cultural customs which have disappeared. Finally, this paper discusses the Mongolian cultural thinking, cultural character and cultural spirit expressed in the Mongolian film narration directed by Seif and Myers. The author believes that the Mongolian people believe in the shamanistic animism of all things. At the same time, due to the dependence of nomadic mode of production on nature and the influence of Buddhism's concept of caring for life and Purdue's thought, the Mongolian unique cultural thinking is formed. Character and spirit. All of these have been shown in Seif and Milis films.
【学位授予单位】：内蒙古大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J911

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