本文選題：紀(jì)錄片 + 藏文化�。� 參考：《西北師范大學(xué)》2013年碩士論文

【摘要】：隨著當(dāng)今時(shí)代全球文化的交流和融合，，紀(jì)錄片這一媒介作為現(xiàn)實(shí)的見證、歷史的寫照，在跨文化傳播與交流中起著舉足輕重的作用。我國自古以來就是統(tǒng)一的多民族國家，56個(gè)民族文化共同構(gòu)成了璀璨的、歷史悠久的中華文明。近年來，許多反映少數(shù)民族人文、風(fēng)俗的優(yōu)秀紀(jì)錄片相繼出現(xiàn)，向我們打開了一扇充滿神秘色彩的少數(shù)民族文化的窗口。素有“世界屋脊”之稱的西藏，美麗而神奇，聚居于此的藏族是中國古老的民族之一，如今，隨著藏區(qū)經(jīng)濟(jì)、文化的發(fā)展，越來越多的人們渴望了解這充滿神秘的土地。創(chuàng)作者通過藏族題材紀(jì)錄片發(fā)掘著西藏的美麗、磅礴與神秘，敘述著歷史與現(xiàn)實(shí)交疊時(shí)的迷茫與變化，表達(dá)著時(shí)代變革中對(duì)未來的美好向往。 本文界定了藏族題材紀(jì)錄片的含義，回顧了國內(nèi)外藏族題材紀(jì)錄片曲折的發(fā)展歷程，分析了它在不同發(fā)展階段的時(shí)代特色和存在的缺陷，并在跨文化的傳播語境中，通過對(duì)具有代表性的紀(jì)錄片進(jìn)行內(nèi)容分析的方式，開展對(duì)藏文化的研究，即包括建筑、服飾、飲食、地理等物質(zhì)民俗文化和繪畫、宗教、婚禮及喪葬等精神民俗文化，解析國內(nèi)外藏族題材紀(jì)錄片對(duì)藏區(qū)民風(fēng)民俗的跨文化交流。此外，由于西藏本身特殊的政治地位、創(chuàng)作者的不同文化背景等等因素，使藏文化在紀(jì)錄片的傳播過程中，產(chǎn)生了一些跨文化傳播障礙與偏差，本文通過尋找國內(nèi)外導(dǎo)演對(duì)藏族文化理解的共性與差異，以及分析產(chǎn)生這種現(xiàn)象的主要原因，結(jié)合藏族題材紀(jì)錄片的成功范例，解析其贏得國內(nèi)、外觀眾的普遍認(rèn)同的原因及成功的模式，初步探索了做好藏族題材紀(jì)錄片的文化傳播的可能途徑，藏族題材紀(jì)錄片在跨文化交流中的未來發(fā)展之路，以期為今后藏族題材紀(jì)錄片的創(chuàng)作帶來一些借鑒意義。
[Abstract]:With the communication and integration of global culture in the present era, documentary, as a medium of reality and historical portrayal, plays an important role in cross-cultural communication and communication. Since ancient times, China has been a unified multi-ethnic country, 56 ethnic cultures together constitute a bright, long history of Chinese civilization. In recent years, many excellent documentaries reflecting the humanities and customs of ethnic minorities have emerged, which has opened a window of the mysterious minority culture. Tibet, known as the "roof of the world", is beautiful and magical. The Tibetans living here are one of the ancient ethnic groups in China. Nowadays, with the development of Tibetan economy and culture, more and more people are eager to understand this mysterious land. The author explores the beauty, majesty and mystery of Tibet through Tibetan documentaries, narrates the confusion and changes when history and reality overlap, and expresses the beautiful yearning for the future in the transformation of the times. This paper defines the meaning of Tibetan documentaries, reviews the tortuous development of Tibetan documentaries at home and abroad, analyzes its characteristics and defects in different stages of development, and in the context of cross-cultural communication. By analyzing the contents of representative documentaries, the study of Tibetan culture is carried out, that is, the spiritual folklore culture of architecture, clothing, diet, geography, religion, weddings and funerals, etc. Analyze the cross-cultural exchange of Tibetan theme documentary on folk customs and customs in Tibetan area at home and abroad. In addition, due to the special political status of Tibet itself, the different cultural backgrounds of the creators, and other factors, the Tibetan culture has produced some obstacles and deviations in the transmission of the documentary film. By looking for the commonness and difference of the directors' understanding of Tibetan culture at home and abroad, and analyzing the main reasons for this phenomenon, and combining with the successful examples of Tibetan documentaries, this paper analyzes its success in China. The reasons for the general acceptance of foreign audiences and the successful mode have preliminarily explored the possible ways to do a good job in the cultural dissemination of Tibetan documentaries, and the way for the future development of Tibetan documentaries in cross-cultural exchanges. In order to bring some reference significance for the creation of Tibetan documentaries in the future.
【學(xué)位授予單位】：西北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J952

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本文編號(hào)：1948334