摘要
被拍摄者在影片的拍摄和剪辑过程中是否具有主体性,对民族志电影的形成具有重要意义。被拍摄者的主体性主要体现在其能否表述自己的观点,能否在影片内部与影片制作者形成合作、交流的空间,进而打破民族志电影制作者作为唯一表达者的局面,形成民族志电影的"多声道"表达。在民族志影片《西盟佤族木鼓考察记》的创作过程中,被拍摄者获得表达途径,走出作为"他者"的困境,并与拍摄者、项目主管方共同决定电影的拍摄过程和内容。同时,在《西盟佤族木鼓考察记》这一"多声道"民族志电影的创作过程中,还反思了民族志研究中研究者和被研究者的关系,使二者成为平等对话的主体,这一创作尝试对中国民族志电影的制作也具有反思意义。
It is significant to the forming of the ethnographic film that whether or not the filmed object has the subjectivity in the filming and editing processes. The subjectivity of the filmed object is embodied in these aspects： whether the filmed object can express his/her opinion, whether a collaborative and communicative space can be achieved by the filmed object and the film producer with the result that the monophonic of the ethnographic film producer can be broken and the multichannel expression of the ethnographic film can be formed. In the creation of the ethnographic film Investigation of Wa People＇s Wooden Drum in Ximeng the filmed objects were given expressive measures to go out of the dilemma of ＂the other＂ and they made decisions collectively with the film makers and project leaders in terms of the filming process and content. Also, during the creation of Investigation of Wa People＇s Wooden Drum in Ximeng which is a multichannel ethno- graphic film, the relationship between the researcher and the studied objects in ethnography is rethought, which makes the two parties equal subjects in the communication. This experimental creation also helps rethink the production of Chinese ethnographic films.
出处
《民族艺术研究》
CSSCI
2016年第6期159-164,共6页
Ethnic Art Studies
关键词
民族志
民族志电影
多声道
佤族木鼓文化
西盟佤族木鼓考察记
ethnography, ethnographic film, muhichannel, the wooden drum culture of the Wa nationality, Investigation of Wa People＇s Wooden Drum in Ximeng
