归去来兮:“乡土中国”的影像民俗志表达
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摘要
从最早直面乡野村夫的摄影机镜头,到当代纷纭多元的乡土题材影视作品,上百年间,影像中的乡土中国不断变换着形象与内涵。从人类学、民俗学视角看,当代影像民俗志应遵守学科规范与拍摄伦理,强调深描与反思的学术价值;应强调驻留式的参与观察和历时性的记录方法,关注变迁,强调时代语境,关注个体与群体的关系,提供有异于民俗学文字文本的另一种理解路径;应富集多种媒体形式的"全息"文化志,兼具学术与实践价值。
From the camera lens that first facing the villagers to the contemporary film and television works of various localities,in the past hundred years,the image and connotation of local China has been in a constant process of change.From the perspective of anthropology and folklore,contemporary image folklore needs to abide by the discipline norm and shooting ethics,emphasize the academic value of deep description and reflection;adopt resident participant observation and diachronic recording methods,pay attention to changes,emphasize the context of times,notice the relationship between individuals and groups,so as to provide another path of understanding that is different from folklore texts and enrich the " holographic" cultural philosophies of various media forms with both academic and practical values.
From the camera lens that first facing the villagers to the contemporary film and television works of various localities,in the past hundred years,the image and connotation of local China has been in a constant process of change.From the perspective of anthropology and folklore,contemporary image folklore needs to abide by the discipline norm and shooting ethics,emphasize the academic value of deep description and reflection;adopt resident participant observation and diachronic recording methods,pay attention to changes,emphasize the context of times,notice the relationship between individuals and groups,so as to provide another path of understanding that is different from folklore texts and enrich the " holographic" cultural philosophies of various media forms with both academic and practical values.
引文
王铭铭,杨清媚,2010.费孝通与《乡土中国》[J].中南民族大学学报(人文社会科学版),(7).
陈智,2004.我国首部在国际获正式奖的影片实为《农人之春》[J].电影艺术,(5).
梅冰,朱靖江,2004.中国独立纪录片档案[M].西安:陕西师范大学出版社.
陈全黎,2018.搬演的魅力---评纪录片《宜昌薅草锣鼓》[J].长江文艺评论,(2).
鬼叔中,2012.风土电影笔记[J].文苑,(10).
张凤英,2016.影视人类学影响下的客家题材纪录片[J].龙岩学院学报,(3).
朱靖江,2018.“中国节日影像志”的庙会拍摄实践省思---夏坊村七圣庙个案[J].民族艺术,(1).
[法]让·鲁什,著,蔡家祺,译,2001.摄影机和人[A].[美]保罗·霍金斯,著,王筑生,译,影视人类学原理[M].昆明:云南大学出版社.
(1)[中华民国]《中央日报》(南京)1935-09-08,第2张第3版。
(2)《江南春》影片简介,http://www.cndfilm.com/20101111/101002.shtml.
(3)纪录片《中国》旁白。
陈智,2004.我国首部在国际获正式奖的影片实为《农人之春》[J].电影艺术,(5).
梅冰,朱靖江,2004.中国独立纪录片档案[M].西安:陕西师范大学出版社.
陈全黎,2018.搬演的魅力---评纪录片《宜昌薅草锣鼓》[J].长江文艺评论,(2).
鬼叔中,2012.风土电影笔记[J].文苑,(10).
张凤英,2016.影视人类学影响下的客家题材纪录片[J].龙岩学院学报,(3).
朱靖江,2018.“中国节日影像志”的庙会拍摄实践省思---夏坊村七圣庙个案[J].民族艺术,(1).
[法]让·鲁什,著,蔡家祺,译,2001.摄影机和人[A].[美]保罗·霍金斯,著,王筑生,译,影视人类学原理[M].昆明:云南大学出版社.
(1)[中华民国]《中央日报》(南京)1935-09-08,第2张第3版。
(2)《江南春》影片简介,http://www.cndfilm.com/20101111/101002.shtml.
(3)纪录片《中国》旁白。