在新时期社会转型的复杂语境中,如何以观察者的客观角度审视并认同“少数民族题材电影”?哈萨克族电影《鲜花》给出的答案是:祛除奇观效应的审美距离,原生态描绘少数民族独特的生存哲学,于真诚包容的内心思辨中,超越地域性与民族性的主题呈现,最终唤起观者的情感认同。由是观之,这样一种澄明清醒的书写方式、这样一种融民族叙事与人类普世生存价值观的结构主义,有必要成为西部民族电影的一种文化生态结构方式。 In the complex context of social transformation in the new era, how to view and agree with the objective perspective of the observer? The answer given by the “minority-themed movie” is: the aesthetic distance from the spectacle effect, the original Ecologically depicting the unique philosophy of existence of ethnic minorities, presented in a truly inclusive mindset beyond the theme of regionality and nationality, eventually arousing the viewer’s emotional identity. From the viewpoint of view, such a clear and sober way of writing, such a structuralism that integrates national narrative and universal values ​​of human existence, is necessary to become a cultural and ecological structure of western national film.