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当代新疆少数民族题材的电影在中国电影发展史上占有重要地位。本文以三部具有代表性的时代作品来考察当代新疆少数民族题材电影艺术的演进流程:《哈森与加米拉》是具有超前艺术表现力的起点;《冰山上的来客》为观赏性与工具性结合的典范;《美丽家园》体现了真正的民族性。进而勾画出当代新疆少数民族题材电影在“十七年”的艺术特征表现为讲究鲜明的主题、采用双层的叙事结构和追求圆满的故事情节,在“新时期”则注重客观写实和对人物心灵的再现。
The movie of the contemporary ethnic minorities in Xinjiang occupies an important position in the history of the development of Chinese cinema. This paper examines the evolution of contemporary Xinjiang ethnic minority film and movie art with three representative works from the time: “Hassan and Jamila” are the starting points of advanced artistic expression; “the guest on the iceberg” is the ornamental and instrumental A model of sexual union; “beautiful homeland” reflects the true nationality. Furthermore, it is delineated that the contemporary Xinjiang ethnic minorities’ theme films show a distinctive theme in “Seventeen Years” with a double-layered narrative structure and the pursuit of a successful storyline. In the “New Period”, they focus on the objective Reality and the reproduction of the soul of the character.