本文選題：蒙古族 + 電影��； 參考：《吉首大學(xué)》2014年碩士論文

【摘要】：隨著經(jīng)濟(jì)的發(fā)展，人類文化交流的增強(qiáng)，他者文化的不斷介入，在今天，有關(guān)身份認(rèn)同的問(wèn)題，比歷史上的任何時(shí)候都變得更為突顯。“認(rèn)同”問(wèn)題近年來(lái)之所以會(huì)引起社會(huì)各界的關(guān)注，是因?yàn)樵谏矸菡J(rèn)同中“自我”與“他者”的區(qū)分，尤其是探究“我是誰(shuí)”的這一論題，在文化交流異常頻繁的語(yǔ)境下，顯得格外引人注目和異常重要。 本文以新中國(guó)55個(gè)少數(shù)民族中最有代表性的蒙古族電影作為研究對(duì)象，考察新中國(guó)成立六十年來(lái)，蒙古族電影中的國(guó)家認(rèn)同、族群認(rèn)同在不同的歷史語(yǔ)境中的關(guān)系狀態(tài)及其歷史演變，通過(guò)對(duì)具有代表性的蒙古族電影中的故事情節(jié)、人物對(duì)話、場(chǎng)景描述的分析，我們發(fā)現(xiàn)，在十七年時(shí)期，為了大一統(tǒng)國(guó)家政權(quán)的建設(shè)，蒙古族電影中國(guó)家認(rèn)同對(duì)族群認(rèn)同進(jìn)行了弱化。文革結(jié)束之后（1977年）到20世紀(jì)90年代，這十余年的時(shí)間里，國(guó)家政權(quán)相對(duì)穩(wěn)定，經(jīng)濟(jì)文化穩(wěn)步發(fā)展，蒙古族電影集中展現(xiàn)的核心觀念則是民族融合，與此同時(shí)，國(guó)家開始允許少數(shù)民族對(duì)于自我個(gè)性的張揚(yáng)，，民族話語(yǔ)逐漸融入國(guó)家話語(yǔ)。最后，在世界經(jīng)濟(jì)融合以及文化互通的新時(shí)期（20世紀(jì)90年代至今），蒙古族經(jīng)典電影文本中，展現(xiàn)出來(lái)更多的是遼闊的大草原、奔馳的駿馬、特有的民族服飾、經(jīng)典的歌舞等具有蒙古族特色的民族特性，衍生出的對(duì)本民族內(nèi)涵的挖掘、深刻的民族自省與反思。 從歷史的角度看，蒙古族題材的電影中，國(guó)家認(rèn)同與族群認(rèn)同經(jīng)歷了此消彼長(zhǎng)的歷史嬗變過(guò)程。本文通過(guò)對(duì)這一系列蒙古族的經(jīng)典電影文本的分析，揭示了蒙古族電影中國(guó)家認(rèn)同與族群認(rèn)同這兩者在新中國(guó)六十年的歷史文化變遷中的錯(cuò)綜復(fù)雜的關(guān)系以及兩者相互作用的內(nèi)在機(jī)制和歷史文化動(dòng)因。
[Abstract]:With the development of economy, the enhancement of human cultural exchange and the continuous intervention of other culture, the issue of identity has become more prominent than at any time in history.The problem of "identity" has attracted the attention of all circles of society in recent years because of the distinction between "self" and "other" in identity, especially the topic of "who I am", in the context of frequent cultural exchanges.It is especially noticeable and very important.This paper takes the Mongolian films, which are the most representative of 55 ethnic minorities in New China, as the research object, and examines the national identity of the Mongolian films in the 60 years since the founding of the people's Republic of China.The relationship between ethnic identity in different historical contexts and its historical evolution, through the analysis of the story plot, character dialogue, scene description in representative Mongolian films, we find that in 17 years,In order to unify the state power, the national identity in Mongolian films weakens ethnic identity.From the end of the Cultural Revolution (1977) to the 1990s, during these ten years, the state power was relatively stable, the economy and culture developed steadily, and the core concept of Mongolian films concentrated on ethnic integration, at the same time,The state began to allow ethnic minorities to promote their own personality, and the national discourse gradually integrated into the state discourse.Finally, in the new period of world economic integration and cultural exchange, since the 1990s, the Mongolian classic film texts show more of the vast prairie, the galloping steed, and the unique ethnic costumes.Classic songs and dances with Mongolian characteristics of the national characteristics, derived from the excavation of the national connotation, profound national introspection and reflection.From the historical point of view, the national identity and ethnic identity in Mongolian films have undergone the historical evolution.Through the analysis of this series of Mongolian classic film texts,This paper reveals the intricate relationship between national identity and ethnic identity in the historical and cultural changes of 60 years of New China, and the internal mechanism and historical and cultural motivation of the interaction between the two.
【學(xué)位授予單位】：吉首大學(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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