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  本文選題：白褲瑤　切入點(diǎn)：專題影像　出處：《西南大學(xué)》2011年碩士論文

【摘要】：作為影視人類學(xué)這門新興的邊緣性與交叉性兼具的學(xué)科的載體,“人類學(xué)影片”對傳統(tǒng)文化的記錄與保存功能早就被人們所知曉。20世紀(jì)50年代,我國大規(guī)模攝制了一批關(guān)于少數(shù)民族的影片,這些影片被界定為國內(nèi)人類學(xué)影片的開山之作。而當(dāng)時政府正是出于對少數(shù)民族文化進(jìn)行影像保存的目的,才在條件極為艱苦的情況下,大力支持一批電視人和人類學(xué)學(xué)者共同完成了這一重大任務(wù)。但隨著影視人類學(xué)在我國的不斷發(fā)展以及人類學(xué)影片的大量問世,人們越發(fā)在實(shí)踐中發(fā)現(xiàn)到這類影片的獨(dú)特價值,即影像作為一種介質(zhì),它具備將多種符號及文化關(guān)系同時展示在場的特質(zhì)。正是這種特質(zhì),使得人類學(xué)影片除了作為一種記錄手段得以保存即將消失的文化以外,還具有一種超乎于載體本身的“深描”文化效用。 基于這樣的認(rèn)識,2010年3月至2010年4月,筆者跟隨西南民族教育與心理研究中心的貴州白褲瑤蠶絲文化田野調(diào)查小組去到貴州省荔波縣瑤山鄉(xiāng)白褲瑤聚居地進(jìn)行了維期近一個月的實(shí)地考察與拍攝。我們發(fā)現(xiàn),白褲瑤人種桑養(yǎng)蠶既非滿足物質(zhì)生活的需要,也不以經(jīng)濟(jì)交換為目的；而且同一般的“剝繭抽絲”不同,白褲瑤人會將快吐絲的蠶放于平板之上從而直接獲得一塊平整的絲,即“平板絲”�？梢哉f,“平板絲”是白褲瑤蠶絲文化中一個蘊(yùn)含著人類學(xué)意義的典型符號,它的出現(xiàn)使得該文化具有了一種地方性的特質(zhì)。而本論文正是在前期實(shí)地調(diào)研的認(rèn)知基礎(chǔ)上,試圖通過對影像文本的再度“田野”,來透視建構(gòu)在影像中的文化系統(tǒng)三個層面(物質(zhì)、制度、精神)所涵蓋的人類學(xué)信息,并對影像文本中一系列和文化關(guān)聯(lián)的符碼進(jìn)行解碼,進(jìn)而揭示影像在文化“深描”向度上的文化效用。
[Abstract]:As the carrier of film and television anthropology, a new discipline of borderline and intersectionality, the function of recording and preserving traditional culture in Anthropology Film has long been known by people in the 1950s. China produced a number of films about ethnic minorities on a large scale, which were defined as the beginning of domestic anthropological films. At that time, the government was trying to preserve the images of minority cultures. Only under extremely difficult conditions did we support a group of television people and anthropologists to accomplish this important task together. But with the continuous development of film and television anthropology in our country and the emergence of a large number of anthropological films, More and more people find in practice the unique value of this kind of film, that is, the image as a medium, which has the quality of showing the presence of a variety of symbols and cultural relations at the same time. In addition to preserving the disappearing culture as a means of recording, anthropological films also have a cultural utility beyond the carrier itself. Based on this understanding, from March 2010 to April 2010, The author followed the Guizhou White Kuyao Silk Culture Field investigation team of the Southwest National Education and Psychological Research Center to the Yaoshan Township, Libo County, Guizhou Province, where the Baikouyao area was inhabited for nearly a month. We found that, White trousers and Yao race mulberry silkworms are neither for material needs nor for economic exchange. Moreover, unlike the common "cocoon drawing", the Baikouyao people will put the quick-spun silkworms on the flat plate to obtain a flat silk directly. That is, "flat silk". It can be said that "flat silk" is a typical symbol with anthropological significance in the white Kuyao silk culture. Its appearance makes the culture have a kind of local characteristic. And this paper is based on the cognition of the earlier field research. Through the re-" field "of the image text, this paper attempts to penetrate the anthropological information covered by the three levels of cultural system (matter, institution, spirit) constructed in the image, and decode a series of codes related to culture in the image text. Then it reveals the cultural utility of the image in the dimension of cultural "deep drawing".
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：C912.4

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