21世纪以来,随着电影产业化改革的不断深入,资本与市场日渐成为电影生产的主导性力量。而资本的逐利本性决定着电影生产必须迎合主流观影群体的文化趣味,这使得处于边缘化的少数民族题材电影普遍受到影视传媒公司的漠视。与此同时,政府为维护民族团结,对少数民族题材电影创作提出了诸多意识形态诉求,使其成为一项颇具政治风险的文化选择。在这种利润诉求与政治避险的双重驱使下,21世纪以来的少数民族题材电影非但没有随着电影产业的繁荣而再创辉煌,反而愈加被排斥在公众视野之外。尽管近年微电影的兴起,似乎给少数民族题材电影带来了一丝希望的曙光,但这种表面的影像民主并不能掩盖其在市场化语境下必然要陷于互联网经济的巨大“魔咒”之中的宿命。因此,为了保障少数民族的影像权利,必须借助一些非市场的力量来推动少数民族电影事业的发展,从而促进社会公平、实现民族平等。 Since the 21st century, with the deepening reform of the industrialization of cinema, capital and the market have increasingly become the dominant forces in the production of cinema. The capital-based nature of profit determines that the film production must cater to the cultural taste of the mainstream viewing groups, which makes the marginalized minority-theme films generally ignored by the media companies. At the same time, in order to safeguard national unity, the government has put forward many ideological appeals for the creation of minority-subject themed movies, making it a politically-risky cultural choice. Driven by this kind of profit appeal and political hedging, the minority-themed films since the 21st century have not only become more brilliant with the prosperity of the movie industry, but have been increasingly excluded from the public view. Although the rise of microfilm in recent years seems to have brought a glimmer of hope to ethnic-minority films, this superficial image democracy can not cover up the huge “magic” that inevitably needs to get trapped in the Internet economy under the market- Among the fate. Therefore, in order to protect the rights of ethnic minorities in their images, some non-market forces must be employed to promote the development of ethnic minority movie businesses so as to promote social fairness and achieve ethnic equality.