本文選題：西藏影像　切入點(diǎn)：敘事符號(hào)　出處：《浙江師范大學(xué)》2014年碩士論文

【摘要】：在當(dāng)代文化藝術(shù)視野中,作為文化鏡像的表述空間,西藏在中國(guó)藝術(shù)領(lǐng)域被不斷地書寫和言說(shuō)。在文化地理學(xué)的話語(yǔ)浪潮與電影版圖的文化景觀沖擊下,西藏影像也在中國(guó)電影史中被重新想象與建構(gòu)。本文梳理西藏影像在不同發(fā)展時(shí)期的歷史脈絡(luò),選取以《農(nóng)奴》、《紅河谷》、《盜馬賊》、《喜馬拉雅》、《可可西里》、《西藏往事》等經(jīng)典西藏影片,從地域標(biāo)識(shí)、民族符號(hào)和文化意蘊(yùn)等方面提煉西藏影像的敘事元素,解讀電影文本里集中呈現(xiàn)的地域物象,探討影像背后的深層民俗事項(xiàng)與文化意義,以期獲取西藏影像研究的民族品格與美學(xué)價(jià)值。 第一章重點(diǎn)梳理建國(guó)以來(lái)西藏影像的歷史脈絡(luò)。西藏影像在不同階段電影生態(tài)環(huán)境下呈現(xiàn)出獨(dú)特的發(fā)展態(tài)勢(shì)。在發(fā)軔期,民族政策與十七年主流政治思潮并肩,電影的意識(shí)形態(tài)訴求不言而喻。新時(shí)期的西藏影像呈現(xiàn)出由主流文化對(duì)地域奇觀的凝視與想象境遇的敘事模式,很多優(yōu)秀影片被搬上銀幕,以雪域高原的綺麗風(fēng)光、神圣空靈的佛教文化和傳奇的民族鏡像,在西南版圖上形成具有獨(dú)特審美品格的地理景觀。新世紀(jì)以來(lái),西藏影像的發(fā)展趨向融合與多元化碰撞,建構(gòu)了新西藏的本土風(fēng)貌以及傳統(tǒng)與現(xiàn)代多元并置的文化構(gòu)想,影像記錄重新詮釋了對(duì)地域文明的新的表達(dá)方式。 第二章著重塑造西藏影像的地域標(biāo)識(shí)。在“天、地、人”的縱深層次上,從自然符號(hào)、生存場(chǎng)所與敘事空間三個(gè)角度分析西藏影像原生態(tài)的自然景觀與空間意義。在高山大川的俯仰視野和流動(dòng)的生命延續(xù)中探尋人的生存境況,進(jìn)而尋找空間想象中的美學(xué)訴求與審美存在,完成地理圖景與美學(xué)影像的雙重書寫,進(jìn)一步深入藏地高原的文化版圖,賦予其獨(dú)特的美學(xué)理念,彰顯出中國(guó)電影美學(xué)特征。 第三章解讀西藏影像的民族符號(hào)。從物質(zhì)器物與精神內(nèi)容兩個(gè)層面,呈現(xiàn)西藏影像中由地表符號(hào)與外在風(fēng)貌等家園特色所構(gòu)成的日常生活符號(hào)體系,在民俗事項(xiàng)傳承中挖掘可知可感的物質(zhì)民俗奇觀與衍生出的社會(huì)民俗儀式的符碼意義,通過(guò)諸多蘊(yùn)含地域聚合力的民俗符號(hào)的象征性運(yùn)用,探究西藏影像中的民族風(fēng)貌與審美觀念。 第四章深度挖掘西藏影像中蘊(yùn)藏的文化意蘊(yùn)和民族精神。在西藏影像所表達(dá)的想象性關(guān)系與虛構(gòu)存在中,以充斥著浪漫想象的神話傳說(shuō)等藝術(shù)形式和傳統(tǒng)民間表演藝術(shù)的靈性敘事凝聚著民族文化的集體認(rèn)同,在對(duì)宗教元素的具象呈現(xiàn)和民間文化的貫穿中完成對(duì)精神信仰的崇高表達(dá),從而提煉出西藏影像的民族品格與文化風(fēng)韻。
[Abstract]:In the view of contemporary culture and art, Tibet, as the expression space of cultural mirror, has been constantly written and spoken in the field of Chinese art. Under the impact of the discourse wave of cultural geography and the cultural landscape of film territory, Tibetan images have also been reimagined and constructed in the history of Chinese cinema. Select classic Tibetan films, such as serfs, Red Valley, stolen Horse thieves, Himalayas, Hoh Xili, the past of Tibet, and so on, to refine the narrative elements of Tibetan images from such aspects as geographical identification, ethnic symbols and cultural connotations, etc. In order to obtain the national character and aesthetic value of Tibetan image research, this paper interprets the regional images concentrated in the film text, and probes into the deep folklore matters and cultural significance behind the images. The first chapter focuses on sorting out the historical context of Tibetan images since the founding of the people's Republic of China. Tibetan images show a unique development trend under different stages of film ecological environment. In the initial period, ethnic policies were side by side with the mainstream political trends of 17 years. The ideological demands of the film are self-evident. The Tibetan images of the new period show a narrative pattern of gaze at and imagination of regional wonders by mainstream culture. Many excellent films have been brought onto the screen, with the beautiful scenery of the snow-covered plateau. The sacred and empty Buddhist culture and the legendary national mirror image form a geographical landscape with unique aesthetic character on the southwest territory. Since the new century, the development of Tibetan images has tended to merge and collide with pluralism. It constructs the local style of New Tibet and the cultural conception of traditional and modern plural juxtaposition, and the video record reinterprets the new expression of regional civilization. The second chapter focuses on the regional identification of the image of Tibet. In the depth of "Heaven, Earth, Man," from the natural symbol, This paper analyzes the natural landscape and spatial significance of Tibet's original image ecology from three angles of living place and narrative space, and explores the living conditions of human beings in the pitching vision and flowing life of high mountains and great rivers. Then it seeks the aesthetic appeal and aesthetic existence in space imagination, completes the double writing of geographical picture and aesthetic image, further deepens the cultural map of Tibetan plateau, endows it with its unique aesthetic idea, and highlights the aesthetic characteristics of Chinese film. The third chapter interprets the national symbols of Tibetan images. From the two levels of material objects and spiritual contents, it presents the symbol system of daily life in Tibetan images, which is composed of land surface symbols and external features, etc. Excavating the sense of material folklore wonders and the derived symbol meaning of social folklore ritual in the inheritance of folklore matters, through the symbolic application of many folk custom symbols which contain regional cohesion, Explore the Tibetan image of the national style and aesthetic concept. Chapter four explores the cultural implication and national spirit contained in Tibetan images. In the imaginative relations and fictional existence of Tibetan images, The spiritual narration of traditional folk performing arts, such as myths and legends full of romantic imagination, condenses the collective identity of national culture. In the representation of religious elements and the penetration of folk culture, the lofty expression of spiritual belief is completed, thus extracting the national character and cultural charm of Tibetan images.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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