外国人在华拍摄纪录片中的中国形象研究（1949-1976）

发布时间：2018-06-20 15:22

  本文选题：中国形象 + 话语权力　； 参考：《暨南大学》2017年博士论文

【摘要】：外国尤其是西方世界,在国际传播中占有明显的传媒优势,这使得西方在国际政治风云中占据主动,左右着公共外交的方向。新中国成立以来,外国人在中国大陆拍摄了一系列中国题材的纪录片,对中国的方方面面进行了展示和评价,对中国形象进行了表述,为国际社会了解中国提供了重要的渠道,是外国人建构中国形象的重要手段。本研究以1949年新中国成立至1976年文化大革命结束这一时间段外国人来华拍摄的纪录片为研究对象,探讨在西方话语空间下的中国形象建构问题,分析隐含在其中的话语权力问题,以及跨文化传播过程中的影像对话实践。本研究主体内容分为四部分。第一部分,对建国以来到文化大革命结束外国在华拍摄的纪实影像作了梳理,主要分为三个时段即建国初期(1949-1956年)、十年建设时期(1956-1966年)、文革期间(1966-1976年)来把握外国人在华拍摄纪录片的大致情况,及其生产机制。第二部分,分析探讨了这些外国纪录片的中国形象的呈现方式。外国纪录片对中国形象的呈现主要是从符号体系、叙事体系以及中国形象形态三个方面来体现的。第三部分,分析外国纪录片对中国形象的建构主要是运用授权话语和他者化的话语建构方式,意识形态化和乌托邦化两种他者化的话语形式纠结在一起,中国永远是作为他者出现在他们的话语体系当中。外国纪录片中建构的中国形象就是一种话语权力关系运作的结果。第四部分,指出纪录片在跨文化传播中的重要地位,建国以来至文革结束,外国纪录片在建构中国形象方面有许多值得我们反思借鉴之处。研究发现,由于中国国内外形势和政策等原因,导致了在那个时段里外国人来华拍摄的纪录片相当少,这些为数不多的纪录片的拍摄一般都要进行严格的审批,或由中国官方邀请。他们在纪录片中是以他者化的话语方式建构中国形象,大都是乌托邦化、正面的形象塑造中国,当然也有不少意识形态化的、负面的形象建构。而这正是中国官方话语与西方话语相互争夺话语权力的结果。本研究的创新在于从纪录片的视角比较系统地研究中国形象问题,而且是截取了特殊年代(毛泽东时代)的外国在华拍摄的纪录片来探讨他们眼中的中国形象。
[Abstract]:Foreign countries, especially the Western world, have obvious media advantages in international communication, which makes the West take the initiative in international politics and influence the direction of public diplomacy. Since the founding of New China, foreigners have filmed a series of documentaries on Chinese subjects in mainland China, showing and evaluating all aspects of China, and describing the image of China, thus providing an important channel for the international community to understand China. It is an important means for foreigners to construct Chinese image. This study focuses on the documentary films made by foreigners from the founding of New China in 1949 to the end of the Cultural Revolution in 1976 to explore the construction of China's image in the context of Western discourse space. This paper analyzes the implied discourse power and the practice of video dialogue in the process of cross-cultural communication. The main content of this study is divided into four parts. In the first part, the documentary images taken by foreign countries in China from the founding of the people's Republic of China to the end of the Cultural Revolution are sorted out. It is divided into three periods: the initial period of the founding of the people's Republic of China (1949-1956), the period of ten years' construction (1956-1966), and the period of the Cultural Revolution (1966-1976) to grasp the general situation and production mechanism of the documentary films made by foreigners in China. In the second part, the author analyzes and discusses the presentation of the Chinese image of these foreign documentaries. The presentation of Chinese image by foreign documentaries is mainly reflected in three aspects: symbol system, narrative system and Chinese image form. In the third part, the author analyzes that the construction of Chinese image by foreign documentaries mainly uses authorized discourse and other-oriented discourse construction, ideology and utopialization of the two other discourse forms entangled together. China is always in their discourse system as the other. The Chinese image constructed in foreign documentaries is the result of the operation of a discourse power relationship. The fourth part points out the important position of documentary in cross-cultural communication. Since the founding of the people's Republic of China and the end of the Cultural Revolution, foreign documentaries in the construction of the image of China have a lot of worthy of our reflection and reference. The study found that due to the situation and policies at home and abroad in China, there were relatively few documentaries produced by foreigners in that period of time. The shooting of these few documentaries generally required strict examination and approval. Or invited by the Chinese authorities. In the documentary they construct the Chinese image by the way of other words, mostly Utopialization, the positive image molds China, of course, there are many ideological, negative image construction. This is the result of Chinese official discourse and Western discourse competing for discourse power. The innovation of this study is to systematically study the image of China from the perspective of documentary, and to explore the image of China in their eyes by intercepting foreign documentaries made in China in a special age (Mao Zedong era).
【学位授予单位】：暨南大学
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J952
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本文编号：2044713