【摘要】：隨著全球化在影視文化領(lǐng)域的滲透和非物質(zhì)文化遺產(chǎn)保護(hù)的提出，作為一直努力拍攝本土化、民族化影片的廣西電影廠備受矚目。面對(duì)新的文化語(yǔ)境，文章從電影學(xué)、人類學(xué)和文藝民俗學(xué)的視界，運(yùn)用跨學(xué)科的研究方法，把非物質(zhì)文化遺產(chǎn)與廣西電影結(jié)合起來(lái)，重新審視和思考廣西電影的“新生”之路。全文共分五部分。緒論部分，論述了研究緣起及目的，研究現(xiàn)狀，研究的方法及創(chuàng)新點(diǎn)；第一部分以“廣西電影中非物質(zhì)文化遺產(chǎn)的影像化呈現(xiàn)”為題，通過(guò)對(duì)非物質(zhì)文化遺產(chǎn)概念及內(nèi)涵的界定，分析非物質(zhì)文化遺產(chǎn)中的各種口頭表述、傳統(tǒng)表演藝術(shù)、社會(huì)風(fēng)俗、知識(shí)和技能等元素在廣西電影中的影像化呈現(xiàn)。第二部分以“廣西電影中非物質(zhì)文化遺產(chǎn)的影像化闡釋”為題，闡發(fā)了非物質(zhì)文化遺產(chǎn)元素在廣西電影中具有展示濃郁地域民俗風(fēng)情、創(chuàng)設(shè)獨(dú)特環(huán)境氛圍、打造人物精神底色的審美作用，它以紀(jì)錄式、點(diǎn)染式、象征式、花瓶式的方式呈現(xiàn)出來(lái)，承載了對(duì)個(gè)體生存狀態(tài)的關(guān)注與建構(gòu)，對(duì)民族文化心理的透視與建構(gòu)，對(duì)原型意象深層的詢喚與建構(gòu)的文化表征。第三部分以“廣西電影中非物質(zhì)文化遺產(chǎn)影像化的不足與提升策略”為題，針對(duì)廣西電影對(duì)非物質(zhì)文化遺產(chǎn)的書寫，存在著文化坐標(biāo)迷失、文化闡釋的深度欠缺與藝術(shù)的“美”和生活的“真”之間結(jié)合不夠的問(wèn)題，提出利用非物質(zhì)文化遺產(chǎn)使其電影故事民族化、敘事神秘化，將非物質(zhì)文化遺產(chǎn)的奇觀性與自身獨(dú)特的文化內(nèi)涵相結(jié)合，把握好非物質(zhì)文化遺產(chǎn)“熟悉的陌生化”的度以提升廣西電影品質(zhì)的策略。結(jié)語(yǔ)部分，指出在全球化語(yǔ)境下，作為“文化資本”的非物質(zhì)文化遺產(chǎn)為廣西電影提供了獨(dú)特的影像表達(dá)空間，使其具有文化生命力，，以實(shí)現(xiàn)可持續(xù)發(fā)展。
[Abstract]:With the penetration of globalization in the field of film and television culture and the proposal of the protection of intangible cultural heritage, Guangxi Film Factory, which has been working hard to shoot localization, has attracted much attention. In the face of the new cultural context, from the perspective of cinematology, anthropology and literary folklore, the article combines the intangible cultural heritage with Guangxi film by using interdisciplinary research methods to re-examine and reflect on the "new life" of Guangxi films. The full text is divided into five parts. In the introduction part, the origin and purpose of the study, the present situation, the methods and innovations of the research are discussed. The first part is entitled "Image presentation of the Non-material Cultural Heritage of Guangxi Film". By defining the concept and connotation of intangible cultural heritage, this paper analyzes various oral expressions, traditional performing arts, social customs, knowledge and skills in Guangxi films. The second part takes "the image interpretation of the non-material cultural heritage of Guangxi film" as the title, explains that the intangible cultural heritage elements have the rich regional folk custom amorous feelings in the Guangxi movie, creates the unique environment atmosphere. The aesthetic function of creating the spirit background color of the character is presented in the way of record, dot, symbol and vase, which bears the attention and construction of individual living state, the perspective and construction of national culture psychology. The cultural representation of the deep inquiry and construction of the archetypal image. The third part is about the deficiency and promotion strategy of the immaterial cultural heritage in Guangxi film. In view of the writing of the intangible cultural heritage in Guangxi film, the cultural coordinate is lost. The lack of depth of cultural interpretation and the insufficient combination of "beauty" of art and "truth" of life are not enough. It is proposed that the intangible cultural heritage should be used to nationalize its film story and to make its narrative mysterious. Combining the spectacle of intangible cultural heritage with its own unique cultural connotation, the author holds the measure of "familiar strangeness" of intangible cultural heritage in order to improve the quality of Guangxi film. In the conclusion part, it is pointed out that in the context of globalization, the intangible cultural heritage as "cultural capital" provides Guangxi film with a unique space for image expression, which makes it have cultural vitality in order to achieve sustainable development.
【學(xué)位授予單位】：廣西民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905;G122

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