本文選題：蒙古族民俗　切入點(diǎn)：蒙古族電影　出處：《大連工業(yè)大學(xué)》2013年碩士論文

【摘要】：民俗被創(chuàng)造出來并以新的形式伴隨著舊有民俗“生存”下來，中國影視作品關(guān)于從少數(shù)民族題材的大多都體現(xiàn)出了獨(dú)具特色的中國少數(shù)民族影視面貌，這都要?dú)w功于我國豐富的少數(shù)民族資源，正是從這些民俗文化資源中汲取養(yǎng)分，進(jìn)行融合、傳承少數(shù)民族文化，形成了，拓展了整個中國影像的表現(xiàn)對象和空間。而蒙古族影像一向以鮮明的民俗特色見長,地域特色鮮明的畫面造型、民族色彩濃郁的民情禮俗、宗教信仰、音樂服飾以及蘊(yùn)含于其中的深層的民族文化意識等共同構(gòu)成了其鮮明濃郁的民族風(fēng)格,為影像的民俗研究提供了典型的文本。 新時期以來，隨著蒙古族電影人才的成長，越來越多的具有民族身份的電影人參與的民族電影，蒙古族電影液越來越受到熱門的關(guān)注。直至上世紀(jì)80年代末，蒙古族導(dǎo)演獨(dú)立執(zhí)導(dǎo)的影片還寥寥無幾，蒙古族主創(chuàng)人員主要是以編劇或演員等協(xié)助身份參與民族電影的制作的。而到了90年代以后，越來越多的蒙古族導(dǎo)演開始了獨(dú)立執(zhí)導(dǎo)影片，其中以塞夫、麥麗絲、寧才為代表的新一代優(yōu)秀編導(dǎo)人員最為著名。30年來，蒙古族影像在艱難的探索中茁壯成長，并逐漸與國際接軌，受到世人矚目。 少數(shù)民族影像作品，，以影像這種最具視聽表現(xiàn)特性的文化傳媒方式來表現(xiàn)少數(shù)民族的歷史、風(fēng)土人情、生活方式以及民族習(xí)俗、自然風(fēng)光等，直接迅速地反映少數(shù)民族生活，并延伸出更寬泛和豐富的文化內(nèi)涵。而現(xiàn)有的關(guān)于蒙古族民俗文化研究成果和結(jié)論并不是一個新的課題，但是對影像作品中的民俗文化研究，以及民俗事象與影像作品存在何種關(guān)系，還沒有既成的體系，基本上還處在個體的零散研究。首先是宏觀背景關(guān)照少，現(xiàn)象分析多。對于影視中火量民俗的運(yùn)用的原因并沒有一個很好的解釋，缺少影像與民俗雙向關(guān)系研究；其次是實(shí)證分析少，理論分析多。以往研究中存在的不足以及研究的不深入、不系統(tǒng)，阻礙了對影像中民俗文化研究的深入，更不要說對影像中的民俗在實(shí)踐中的引領(lǐng)與指導(dǎo)。 隨著中國影像事業(yè)的發(fā)展與成熟，國際化交流的增加，多元化世界下，需要尋找到走向世界的藝術(shù)策略，民俗研究是十分重要的部分。對于蒙古族影像，作品中的民俗風(fēng)情不但是對蒙古族文化的記錄與傳遞，也是蒙古族文化登上世界舞臺盡情展示的階梯。因而，研究蒙古民族的民情風(fēng)俗，總結(jié)和概括蒙古族傳統(tǒng)文化，研究其珍貴的精神財(cái)富，探求其文化觀念與根脈，成為一代又一代研究者的重要課題。
[Abstract]:Folklore has been created and accompanied by the "survival" of old folklore in a new form. Most of the films and TV works in China on the subject matter of ethnic minorities reflect the unique features of Chinese minority film and television. This is due to the rich minority resources in our country. It is from these folk cultural resources that we draw nutrients, integrate them, and pass on the minority cultures. It has expanded the object and space of the whole Chinese image, while the Mongolian image has always been characterized by distinct folk customs, distinctive image modeling with regional characteristics, rich national color, etiquette and custom, religious belief, The musical dress and the deep national cultural consciousness contained in it together constitute its distinct and rich national style, which provides a typical text for the study of the folk customs of the image. Since the new era, with the growth of Mongolian film talents, more and more national identity filmmakers participate in national films, Mongolian film fluid has been more and more popular. Until the end of the 1980s, There are still very few films directed independently by Mongolian directors. Mongolian creators mainly participate in the production of national films as writers or actors. But after the 1990s, More and more Mongolian directors have started to direct films independently, among which Seif, Alice and Ning are the most famous of the new generation of excellent editors. Over the past 30 years, Mongolian images have thrived in hard exploration. And gradually in line with international standards, the world attention. The image works of ethnic minorities, which express the history, local customs, way of life, national customs, natural scenery and so on, directly and rapidly reflect the life of ethnic minorities by using video images, which are the most audio-visual and audio-visual cultural media, to express the ethnic minorities' history, local customs, ways of life, and natural scenery. And extend the broader and richer cultural connotations. And the existing research results and conclusions on Mongolian folk culture is not a new topic, but the study of folk culture in the image works, And what is the relationship between folklore and video works? there is no established system, basically, it is still in the individual scattered research. First of all, there is little attention to the macro background. There is not a good explanation for the use of fire folklore in film and television, and there is no research on the two-way relationship between image and folklore; secondly, there is less empirical analysis. There are many theoretical analyses. The shortcomings of previous studies and the lack of in-depth and systematic research hinder the study of folk culture in the image, not to mention the guidance and guidance of the folklore in practice. With the development and maturity of China's image industry and the increase of international communication, in the diversified world, it is necessary to find out the art strategy to the world. The study of folk custom is a very important part. The folk customs in the works are not only the record and transmission of Mongolian culture, but also the ladder of Mongolian culture on the world stage. Studying its precious spiritual wealth and seeking its cultural ideas and roots has become an important task for generations of researchers.
【學(xué)位授予單位】：大連工業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905

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本文編號：1696989