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关于他者和异方的视觉表达,不仅有技术问题和美学考量,更是某一特定社会文化如何差异化周边,从而构建世界格局观念的重要表征。对少数民族的影像呈现,常常受到国族建构和社会认知的影响而悬置,脱离了被摄对象和地方语境。本文以参与观察和民族志研究为基础,透过腾冲傈僳族村民“在地化”表达的影像作品,讨论视觉作品的意义如何走出“他者”审视的简化模式。在逐层深入的交流和阐释中,文化持有者以影像的方式呈现正在消逝的故乡,他们与研究者共同完成的作品也在寻找故乡的过程中回到视觉意义上的原乡。
The visual expression of the other and the other side not only has technical problems and aesthetic considerations, but also shows how a particular social culture can differentiate the periphery and thus build an important representation of the concept of the world architecture. The appearance of the ethnic minorities is often suspended by the national construction and social cognition, leaving the subject and the local context. Based on the participatory observation and ethnographic research, this article discusses the significance of visual works through the simplistic mode examined by the “Other” through the images of the villagers in “Tengchong” of Tengchong. In the layer-by-layer communication and interpretation, cultural holders present their disappearing hometown by means of images. The works they collaborate with researchers are also returning to the homeland of visual sense in their search for their hometown.