本文選題：蒙古族 + 電影��； 參考：《內(nèi)蒙古大學(xué)》2013年碩士論文

【摘要】：論文以蒙古族導(dǎo)演塞夫、麥麗絲所執(zhí)導(dǎo)的蒙古族電影《一代天驕成吉思汗》、《東歸英雄傳》、《騎士風(fēng)云》、《悲情布魯克》、《天上草原》為研究對象,運用文化研究理論,對蒙古族電影敘事與文化身份的建構(gòu)進(jìn)行了結(jié)構(gòu)性細(xì)讀。 第一章中簡略介紹了蒙古族電影史,界定了蒙古國電影、內(nèi)蒙古電影、蒙古題材電影和蒙古族電影的概念,并概述了論文主要研究對象蒙古族導(dǎo)演塞夫、麥麗絲和他們的作品。 第二章中重點探討了塞夫、麥麗絲執(zhí)導(dǎo)的蒙古族電影敘事中的蒙古地域敘事和民族話語的運用。筆者認(rèn)為,塞夫、麥麗絲電影敘事中蒙古地域呈現(xiàn)為三種符號,即生命之鄉(xiāng)、蒙古文化之鄉(xiāng)和科學(xué)之鄉(xiāng)。其次,分析了電影敘事和民族話語的關(guān)系及話語體現(xiàn)的文化身份。 第三章中探討了塞夫、麥麗絲執(zhí)導(dǎo)的蒙古族電影敘事當(dāng)中的文化符號問題。作者選取蘇魯定、馬奶酒和蒙古服飾等三種蒙古文化符號,揭示在電影敘事中的文化意義和象征含義。 第四章中主要分析了蒙古族電影敘事中的社會習(xí)俗、生活習(xí)俗、生產(chǎn)習(xí)俗和宗教習(xí)俗,重點探討了蒙古族傳統(tǒng)喪禮習(xí)俗、馬文化習(xí)俗、薩滿教習(xí)俗和佛教習(xí)俗在電影中的呈現(xiàn),從而指出了在習(xí)俗文化敘事中的文化他者化和文化誤解問題,并指出電影中的習(xí)俗敘事能再現(xiàn)己消失的文化習(xí)俗。 最后,探討了塞夫、麥麗絲執(zhí)導(dǎo)的蒙古族電影敘事所表達(dá)的蒙古族文化思維、文化性格和文化精神。筆者認(rèn)為,蒙古族信仰薩滿教萬物有靈之說,同時由于游牧生產(chǎn)方式對大自然的依賴性很大,再加上佛教的關(guān)愛生命觀和普渡思想影響,形成了蒙古族獨特的文化思維、性格和精神組成。這些在塞夫、麥麗絲電影中均有表現(xiàn)。
[Abstract]:The thesis takes Mongolian film "Genghis Khan", "East return to heroism", "knighthood", "sad Brook" and "the Prairie of Heaven", which are directed by Mongolian directors Seifu and Melis, as research objects, and applies the theory of cultural research. The structure of Mongolian film narration and cultural identity is read in detail. The first chapter briefly introduces the history of Mongolian film, defines the concepts of Mongolian film, Inner Mongolia film, Mongolian theme film and Mongolian film, and summarizes the main research object of the thesis, Mongolian director Saif, Melis and their works. The second chapter focuses on the Mongolian regional narration and the application of national discourse in Mongolian film narration directed by Seif and Myers. The author thinks that Mongolian region is represented by three kinds of symbols in the narration of Seifu and Melis, that is, the hometown of life, the hometown of Mongolian culture and the hometown of science. Secondly, it analyzes the relationship between film narration and national discourse and the cultural identity of discourse. The third chapter discusses the cultural symbols in the narration of Mongolian films directed by Seif and Melis. The author chooses three kinds of Mongolian cultural symbols, such as Suludine, Milky Wine and Mongolian dress, to reveal the cultural significance and symbolic meaning in the film narration. The fourth chapter mainly analyzes the social custom, life custom, production custom and religious custom in the narration of Mongolian film, and discusses the Mongolian traditional funeral custom, horse culture custom, shamanism custom and Buddhist custom in the film. This paper points out the problems of cultural otherness and cultural misunderstanding in the narrative of custom culture, and points out that the narrative of custom in the film can reproduce the cultural customs which have disappeared. Finally, this paper discusses the Mongolian cultural thinking, cultural character and cultural spirit expressed in the Mongolian film narration directed by Seif and Myers. The author believes that the Mongolian people believe in the shamanistic animism of all things. At the same time, due to the dependence of nomadic mode of production on nature and the influence of Buddhism's concept of caring for life and Purdue's thought, the Mongolian unique cultural thinking is formed. Character and spirit. All of these have been shown in Seif and Milis films.
【學(xué)位授予單位】：內(nèi)蒙古大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J911

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

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2 郭培筠;馬背民族的英雄史詩——評塞夫、麥麗絲的電影創(chuàng)作[J];內(nèi)蒙古師大學(xué)報(哲學(xué)社會科學(xué)版);1998年05期

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本文編號：1909562