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民族志电影是19世纪末电影诞生后发展起来的一种类型电影,并被很多人类学家和专业制作人用于田野调查和文化记录。与此同时,关于民族志电影的科学性和艺术性(纪录美学)的关系也曾引起学界人士的疑惑与争鸣。伴随着1980年代民族志“写文化”的反思浪潮,影像民族志的书写同样面临着范式转型的问题,民族志影像的传播属性决定了制作人必须从接受美学的角度考虑视觉效果。从另外一个角度说,非(人类学)专业制作人的“专业化”或许是解决“科学性”和“美学”这一矛盾的可能途径。
Ethnographic films were a type of film developed after the film was made in the late 19th century and used by many anthropologists and professional producers for fieldwork and cultural records. At the same time, the relationship between the scientific and artistic (recordal aesthetics) ethnographic films has aroused the doubts and controversy in the academic circles. With the reflection wave of ethnography and writing culture in the 1980s, the writing of the image ethnography also faces the problem of paradigm shift. The ethnographic transmission attribute determines that the producer must consider the visual effect from the aesthetic perspective. From another perspective, the “specialization” of non-(anthropological) professional producers may be a possible solution to the contradiction between “scientific” and “aesthetic”.