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围绕蒙古族英雄成吉思汗,已经形成了多重文本构成的语义丰富的话语场。对1986年詹相持执导的《成吉思汗》与1997年塞夫、麦丽丝执导的《一代天骄成吉思汗》两个电影文本的对比研究表明,两部影片在影像风格、叙事选择、细节塑造等方面的不同,显示出作为创作主体的导演在构造过去时游走于史实与想象中的姿态,叙事策略的背后展现出的其实是创作者族群、文化身份的差异以及自我定位等深层次的问题。应该说,这样的文本对比分析既对少数民族题材电影创作有启示意义,也是文化人类学之于历史、想象、身份研究的重要范本。
Focusing on Mongolian hero Genghis Khan, a semantic rich discourse composed of multiple texts has been formed. A comparative study of two movie texts, Genghis Khan, directed by Zhan Youcha, in 1986 and “Genghis Khan, a generation of Tianjiao” directed by Sephou and McIlroy in 1997, shows that in terms of image style, narrative choice and detail shaping, the two films In the meantime, it shows that the director who is the main body of creation walks in the historical and imaginary gestures when constructing the past. What lies behind the narrative tactics is actually the deep-seated problems such as the ethnic groups of creators, differences in cultural identities and self-orientation. It should be said that such comparative analysis of texts not only has significance for the creation of minority-subject cinema but also is an important model for cultural anthropology in history, imagination and identity research.