论文部分内容阅读
在当前的“非遗”保护语境中,“非遗”电影正逐步成为传播“非遗”事项及精神的重要文本,但是“非遗”保护意识往往被作为创作意图嫁接在电影中,使电影文本的表述面临多层面的困境。本文以《爱在廊桥》《不肯去观音》《高甲第一丑》等典型“非遗”电影为例,探究“非遗”电影在创作表现上的局限,以及在“非遗”保护和大众文化双重语境中的矛盾身份,从电影文本的“封闭性”与“开放性”关系上论证“非遗”电影作为大众文本存在的问题,并认为解决“非遗”电影背负的问题关键是去“非遗”。
In the current context of “non-lesser ” protection, “non-survivor ” movies are gradually becoming important texts for disseminating “non-survivor ” issues and spirits, but “non-survivor ” protection awareness is often taken as The creative intention is grafted into the movie, which makes the expression of the movie text face the multi-layered dilemma. In this paper, I will explore the limitations of “non-legacy” movies in the performance of “Love in the Bridge”, “Unwilling to go to Guanyin” and “ ”Non-survivor “ contradictory identity in the dual context of protection and popular culture, from the ”closed “ and ”open “ relationship between the movie text ”non-legacy “ movie as a mass text exists Problem and think that the key to solve the problem of ”non-legacy“ movie is to go to ”non-legacy".