下面为大家整理一篇优秀的paper代写范文- Cultural memory in film and television narration，供大家参考学习，这篇论文讨论了影视叙事中的文化记忆。文化记忆作为集体记忆中的一种，是以文化为主体的记忆，而影片叙事中的文化记忆则是通过影视这个记录手段来呈现文化主体。文化记忆驱动的大众文本叙事往往与审美心理有着紧密的联系，呈现出文化的美学追求。电影叙事按照现实的需要改造着古老的传统民俗的同时，古老传统在现实生活中也正在消退，但古老传统却在观念上仍然是更为理想的文化生活。
As a kind of collective memory, cultural memory is mainly culture-oriented memory. The cultural memory in film narration presents the cultural subject through the recording means of film and television. "The seventeen Chuo tamar" is a masterpiece of national culture film industry, this article will in it, for example, analysis the film narrative text, narrative content and narrative structure, research how to form the cultural memory from the movie narrative movie, and the cultural inheritance, the significance of cultural competition.
Film of Chuo seventeen have adopted "documentary" narrative style, show the beauty of the yuan Yang terraces, at the same time as a feature film, the film revolves around seventeen years old girl living in honghe ailaoshan deep Chuo youth story for structure, shows the performance of the hani culture in the face of foreign culture. The film's narrative including the narrative perspective, narrative time, narrative text and narrative structure in many aspects, such as for "the seventeen Chuo tamar" narrative analysis mainly focused on its narrative text and narrative structure, etc.
Generally speaking, symbols have two meanings: one is "signifying level", the other is "signifying level". Film of Chuo seventeen can refers to the level of the formation of the image of the film, including ethnic minority villages, dress and rituals, and lens, color, sound and so on various aspects; The film refers to the meaning of the film, which rises to the meaning level through the audience's understanding and narration.
The picture in the film refers to the image presented in the picture frame and on the screen. "The seventeen Chuo tamar" for truly show, much attention has been paid to minority cultures and beginning to show the film Chuo living environment, then the film will show the Chuo town in the village, terraces, and of the life of the natural environment. At the same time, the film also shows the local ethnic costumes, the hani language and the hani rituals in daily life.
The beginning was Chuo opened the door, standing on the roof dressing, film yuan Yang terrace for the first time. And then switch to grandma in all boiled corn Chuo downstairs, presented Chuo the inside of the house of the environment. Chuo home mainly divided into two layers, the bottom has a fireplace and loom, etc.; Upstairs, storage and Chuo room, room outside is PingBa, facilitate drying grain; Chuo in the bullpen of manasseh built beside the house. Usually, the houses of the hani people are mushroom houses, which are made of earth base walls, bamboo frames and thatched roofs with four slopes. The house is divided into three floors: the ground floor closes cattle and horses, piles up farm tools and so on; The middle floor is laid with wooden boards, separated into three rooms on the left, the middle and the right. The top layer is covered with mud, which can be used for fireproofing and stacking.
Hani people are basically agricultural economy. In the film, there are many scenes of terraces in yuanyang. Terraces are an important source of food and clothing for hani people. There is a saying in the ailao hani people: the terraces are the faces of young men. The beauty of the young man depends on how well he builds the field. If he builds the ridge, dikes and rakes the field, he will be praised and admired by the girls. Whether the girl is beautiful or not depends on whether she does a good job in the terraced field, which corresponds to the "opening seedling gate" ceremony in the film. For thousands of years, facing the living space of high mountains and valleys, the hani people have created and summarized a set of rich experience in cultivating terraces. They build ridges according to different topography and soil quality, and use the natural conditions of "how high the mountain is and how high the water is" to introduce the terraces of mountain springs and streams that keep going all year round through the channels of water channels.
Chuo manasseh with amin when I was walking on the ridge, Chuo also mentioned on the farmland is the patron of the water supply, just spring younger than a year, this is a real problem. Spring water not only supplies the village's crops, but also supports the daily life of the hani people. Chardonnay returned to the village, Chuo is spring to wash clothes, also have use spring water to the rest of the shampoo in the village. Hani people cherish water, in order not to miss season, has existed since ancient times "carved wood set water" thevillage, according to a mountain spring can irrigation area, the people friendly negotiation, drafting each field due to the amount of water, according to the order of water flow through the field of the ditch and were set in place a crossbar, and in the bar will be the amount of water in the field due to time fixed position, let the water flow into the field on its own.
The hani songs in various customs and ceremonies are also very rich and distinctive. Appeared in "the seventeen Chuo tamar" girl married ceremony before send to marry, "rail door open ceremony" and "retribution" ceremony. In the hani area, there are a large number of improvisational folk songs, called "az", "aki" or "ariel", which are sung in the mountains and fields. This kind of song often sings the love, the work or the life feeling as the main content, the melody loud and clear spread, the melody is beautiful and moving.
Minority film on select material mainly comes from the event or close to in daily life, concern is the ordinary people in society, mostly living in the country of farmers and herdsmen, tells the story of the predominantly rural life content. "The Chuo she was 17 years old," the story revolves around Chuo tamar to hani girl, in her reflected the hani traditional culture, and stained with city breath of chardonnay and communication between amin to represent the impact of the modern culture of traditional culture.
Respect the life of the original documentary narrative structure framework, attaches great importance to the details of daily life, not to artificially enhance sharp contradiction, the conflict is dispersed, the scenery, when delay when urgent, broke up the handing down of dramatic locking structure, the pursuit of open presents loose structure of the life and natural space and life process. Through the prose narrative structure, the minority culture is reflected in the daily life of the characters.
"The seventeen Chuo tamar" randomness in the natural process of life and the plot, with full time repeatedly presented the beauty of the hani terraced fields. To documentary narrative, the people pay attention to the performance of external archive-essay structure of life and the reality of everyday life, life time and space for "flash" type, showing the original part of the ethnic minorities in yunnan daily household life, and the average family in the decoration of the utensils and the habits of people's lives.
Memory not only stay in language and text, but also exists in all kinds of cultural carrier, French scholar Nora will these to inheriting the carrier of cultural memory vividly called "memory", and the film and television is one of the memory game. In addition to anthropology in order to record the national culture and filmed JiLuXing video, for the creation of ethnic culture with film, have also played a part in inheriting ethnic culture.
According to the German scholar assmann's theory of cultural memory, ritual and text are two media that carry cultural memory. The narrative of the journal of Chuo seventeen is reflect the best carrier of cultural memory, ritual and text mainly embodied in the film's narrative content.
It is generally believed that the cultural system consists of three aspects: the material object level or the material object cultural level, the behavior level or the behavior cultural level, the concept level or the concept cultural level. Followed the train of thought, any culture of a nation can contain three elements, namely surface layer as a cultural elements in physical culture, behavior culture as a factor of culture in the middle, as a cultural concept of cultural factors of deep. In the true sense of ethnic minority film for ethnic minority culture display does not remain in the stunning scenery and surface cultural matters, but rather to in-depth of the deep cultural factors of the ethnic minorities. One of the core tasks of shaping the screen image of ethnic minorities and displaying the characters' minds is to display the concept and culture of ethnic minorities.
Individual memory is a kind of psychological function, and the collective memory is one of a kind of social behavior and activities, this behavior is based on human memory function, the formation of human group identification also plays a subtle role. The existence and inheritance of folk traditions is a normal part of daily life, and they live and develop in the rural landscape. The daily life in the countryside has become a kind of Shared cultural memory. Culture is the collective memory of culture as the main body of the memory, in the film "the seventeen Chuo tamar" narrative text, the hani architecture, hani life sense of natural environment, hani clothing and the faith of hani, are as matters of ethnic culture. These cultural matters bear the national culture of the hani people. Although they are not described in too many languages, their existence is a kind of record. People get memories from the society, and they also pick up and reorganize these memories in the society. People at different stages form different memories through their appreciation of the film.
The core value of assmann's cultural memory theory is to emphasize the existence of a "cohesive structure" in every cultural system. "Coherence structure" in time level connects the past and now, the important events of the past and memories of them in the form of a fixed and preserved, and constantly make it again in order to obtain the practical significance; At the social level, this kind of coherent structure contains the common value system and code of conduct, and these things are binding for all members and from the memory of the past and memories of the common spun off. The Chuo of seventeen, "the traditional culture of hani fixed in the form of films. But as seen in the film, it is also a phenomenon that we have to pay attention to in the face of the impact of modern civilization on the local minority culture represented by loxia, amin and lily.
Traditionally, hani boys and girls express their love for each other by throwing mud at the ceremony of "opening the seedling gate". A-ming accidentally fell into the field in the film, Chuo followed jump in, although not hani amin, but he already knew about the expression of the hani nationality, therefore through mutual throw mud to reference their cosy relationship between two people. Los chardonnay has returned from the city, she said to tamar Chuo celebrate, namely chardonnay boyfriend, take her to sit sightseeing elevator. From then on, the elevator has become Chuo desire, at the same time also became her hopes on love.
In terms of the present, the minority traditional culture as a subculture, in the process of the modernization in the daily social economic and cultural life, every moment is affected by the mainstream of urban culture and edification. Therefore, in the process of modernization, traditional minority national culture or is hidden in the mountain people, or from the mainstream of urban cultural fusion, facing on the brink of being rewritten by "assimilation" and even the demise of the situation. The intervention of modern media, make originally in the corner of the ethnic groups in the mass media, popular culture field of vision, the traditional life style, traditional culture has become "rewrite" or "refactoring" object. It is important that the mass media in modern society, popular culture, especially the mass cultural consumption will inevitably step in to being in the process of national culture, some traditional cultural factors are intentionally and infinite amplification, but more with the very nature of "performance". In fact, there are many national customs and customs of ethnic films that have the characteristics of "acting out" and "acting out", which have been "rewritten" or "reconstructed" to varying degrees. In this context, the authenticity and credibility of ethnic films, such as the "national character", the authenticity and credibility of national traditional culture itself, are also questionable. In communication, open integration of modern society, culture and material exchange and change the fastest, the system level as the dominant factors determine the cultural nature of the regime, ideology is the most conservative history in psychology, and the most difficult to change the national culture of the kernel. The three levels interact with each other, and the structural cultural organism finally decides the inheritance and development of national culture through the choice of thinking mode and value concept at the psychological level. The cultural memory in film and television narration is not only reflected in the performance of cultural matters, but also in what has been brought by the recording and transmission of cultural matters.
The traditional culture of yunnan ethnic minorities is presented in the film and television narration. It is the filmmakers who present their understanding in the film through the way of images. As the Chuo of seventeen, it presents the hani traditional culture is the understanding of the creator, collective culture is not simply the sum of individual memory, outside the personal memory, also includes the social. Due to the diversity of the society, the memory presented also contains the diversity. The cultural memory realized through film and television should not only help to confirm the national cultural identity, but also arouse and construct the memory with the spirit of rational examination and reflection.
An excellent film necessarily contains the understanding of the creator to culture, and realizes communication and communication through the understanding and dissemination of the national culture. Just as ang lee's works are welcomed by both eastern and western cultures, it is his understanding of eastern and western cultures through the bridge of the film. When he used western thinking to construct films, he also spread traditional Chinese culture through the presentation of films. China is a multi-ethnic country. An excellent minority film can help the audience form an understanding of China's diverse culture, realize a kind of communication and complete a kind of communication. "China's ethnic minority movies, although it is on the verge of a film market, but with its unique cultural ecological and modern aesthetics, for the Chinese screen added a colorful, spectacular scenery line... These minority films are poised to radiate a fresh and inspiring 'cultural soft power' in the dialogue between China and the world.
In fact, an era of cross-cultural "gaming" has arrived. As an iconic product of modern culture, film plays an important role in the cross-cultural "game", and it is bound to be the highland of cultural competition between various countries and ethnic groups. The mass narrative driven by cultural memory is often closely related to the national aesthetic psychology, presenting the aesthetic pursuit of Oriental culture. But in the film narrative, many of these folk customs have lost their traditional cultural significance. Movie narrative according to the realistic need to transform the old traditional folk custom at the same time, the old tradition in real life also is fading, but old tradition is still on the concept of a more ideal cultural life.
When the movie narrative in the ancient traditional folk from all ethnic groups in real life experience and emotional experience pull away, just as a symbol of national identity, in the film narrative folk became of jigsaw superficial display. When folk custom become the subject of cultural character in the movie narrative the profound life experience and emotional experience, the folk contains profound cultural significance of massiness, can arouse the cultural main body of national identity and sense of belonging.
Memory itself how to form is a very complicated problem, it is not only by external forces, such as history, culture and politics of "shape", is also a memory subject "initiative" the result of "construction". It is not hard to see some obvious changes in the recent creation of ethnic films. From "allegorizing" narration to realism narration; Instead of focusing on the "national character", we should focus on the common feeling, experience, emotion and value based on human nature. Therefore, in the process of cultural memory analysis, we should not use fixed thinking, but take a developmental perspective.
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