摘要
影视人类学主张通过动态影像方法从事人类学研究与表达,但该学科与虚构电影的创作体系之间却极少学术往来,因为虚构通常被视为对事实的歪曲与编造。本文论述了这一学科所呈现的三种面向:作为类型电影景观渊源的人类学想象、作为实验性人类学研究方法的民族志虚构电影,以及作为族群主体文化表达方式的原住民电影,它们构成了人类学与虚构电影的多元关系,在当代学科融合的趋势中日益显示出重要的学术价值。
Although motion picture is the most important method applied by visual anthropology to do research and representation, there is little communication between the discipline and the industry of fiction film. ＂Fiction＂ has always been regarded as the distortion and fabrication of facts, which stains the ＂objectivity＂ and authenticity of anthropological representation. According to the relationship between visual anthropology and fiction film along with the development of both in recent 100 years, there are three different aspects： the anthropological imagination as the source of genre films spectacles, the ethnofiction film as an experimental research method of anthropology and the aboriginal cinema as a way of subjectival cultural expression of ethnic groups. This multiple relationship between anthropology and fiction film indicates an important academic value in the time of discipline integration nowadays.
出处
《电影艺术》
CSSCI
北大核心
2018年第3期27-32,共6页
Film Art
关键词
影视人类学
虚构电影
民族志
景观
原住民电影
visual anthropology
fiction film
ethnography
spectacle
aboriginal cinema
作者简介
朱靖江,中央民族大学民族学与社会学学院副教授，影视人类学中心主任
