突厥民族纪录片电影作为一种民族文化表现形式

E. S. Doroschuk, М. H. Bayraktar, А. A. Guseinova
{"title":"突厥民族纪录片电影作为一种民族文化表现形式","authors":"E. S. Doroschuk, М. H. Bayraktar, А. A. Guseinova","doi":"10.36871/hon.202202020","DOIUrl":null,"url":null,"abstract":"The article presents the analysis of the specific features of ethnic culture representation by means of Turkic-language ethnodocumentary cinema. The authors consider ethnographic film as a cultural phenomenon, emphasizing the author's intention to add the global significance and value to the reflected culture in the films under consideration, which allows it to take its place in world history and on the ethnographic map of the Earth. The author's attitude is based on personal observations, relying on collected knowledge, which has a special representative-author's character that allows to represent the unique conditions of encounter with a culture in unique circumstances. The author, on the one hand, acts as an observer of culture and, on the other hand, becomes a full participant in the reflected events, demonstrating the author's manner and interpreting not only what he sees, but ethnic culture as a whole. Ethnographic films are not always based on ethnic events, but more often on the creation of characters in the narrative, on which the author's emphasis is placed. However, performativity and eventfulness combined with imagery allow the viewer to depict the event as it is perceived based on the viewing experience. The main thing in the film is cultural identity, as expressed through a whole range of images, which leads to an understanding of ethnic identity as a special form of cultural representation of an individual. Among the main features of the Turkic-speaking ethnocumentalism are the following: the anthropological nature of the representation of a person of culture based on a detailed accentuation of everyday life; the search for similarities and differences of cultural texts, which represent traditional formats of everyday life, rituals and mentality; the interpretation of the documentary's author based on his participation in the shooting process; the peculiarities of the orientation of collective perception in the process of perceptual design in the film programme with creative use of cinema as a channel of cultural representation; the creation of a kind of navigation of screen information and social regulation of the content of an ethnofilm by involvement in the process of creating an ethnofilm; the transfer of the aura of culture based on the consonance of the aesthetics of the film with the aesthetics of culture.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"71 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"ETHNODOCUMENTARY CINEMA OF TURKIC PEOPLES AS A FORM OF ETHNOCULTURAL REPRESENTATION\",\"authors\":\"E. S. Doroschuk, М. H. Bayraktar, А. A. Guseinova\",\"doi\":\"10.36871/hon.202202020\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The article presents the analysis of the specific features of ethnic culture representation by means of Turkic-language ethnodocumentary cinema. The authors consider ethnographic film as a cultural phenomenon, emphasizing the author's intention to add the global significance and value to the reflected culture in the films under consideration, which allows it to take its place in world history and on the ethnographic map of the Earth. The author's attitude is based on personal observations, relying on collected knowledge, which has a special representative-author's character that allows to represent the unique conditions of encounter with a culture in unique circumstances. The author, on the one hand, acts as an observer of culture and, on the other hand, becomes a full participant in the reflected events, demonstrating the author's manner and interpreting not only what he sees, but ethnic culture as a whole. Ethnographic films are not always based on ethnic events, but more often on the creation of characters in the narrative, on which the author's emphasis is placed. However, performativity and eventfulness combined with imagery allow the viewer to depict the event as it is perceived based on the viewing experience. The main thing in the film is cultural identity, as expressed through a whole range of images, which leads to an understanding of ethnic identity as a special form of cultural representation of an individual. Among the main features of the Turkic-speaking ethnocumentalism are the following: the anthropological nature of the representation of a person of culture based on a detailed accentuation of everyday life; the search for similarities and differences of cultural texts, which represent traditional formats of everyday life, rituals and mentality; the interpretation of the documentary's author based on his participation in the shooting process; the peculiarities of the orientation of collective perception in the process of perceptual design in the film programme with creative use of cinema as a channel of cultural representation; the creation of a kind of navigation of screen information and social regulation of the content of an ethnofilm by involvement in the process of creating an ethnofilm; the transfer of the aura of culture based on the consonance of the aesthetics of the film with the aesthetics of culture.\",\"PeriodicalId\":228633,\"journal\":{\"name\":\"Arts education and science\",\"volume\":\"71 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Arts education and science\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.36871/hon.202202020\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Arts education and science","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.36871/hon.202202020","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

摘要

本文通过突厥语民族纪录片电影对民族文化表现的具体特征进行了分析。作者将民族志电影视为一种文化现象,强调作者的意图是为所研究的电影所反映的文化增加全球意义和价值,从而使其在世界历史和地球民族志地图上占有一席之地。作者的态度基于个人观察,依赖于收集的知识,这具有特殊的代表性-作者的性格,可以代表在独特的环境中遇到一种文化的独特条件。作者一方面作为文化的观察者,另一方面成为反映事件的充分参与者,展示作者的态度,不仅解释他所看到的,而且解释整个民族文化。民族志电影并不总是基于民族事件,而更多的是基于叙事中人物的创造,这是作者所强调的。然而,表演性和事件性与图像相结合,使观众能够根据观看体验来描绘事件。影片的主要内容是文化认同,这是通过一系列图像来表达的,这导致了对种族认同的理解,这是一种个人文化表现的特殊形式。突厥语民族主义的主要特征包括:以日常生活的细节为基础,对文化人物的描绘具有人类学的性质;寻找文化文本的异同,这些文本代表着日常生活、仪式和心态的传统形式;基于纪录片作者参与拍摄过程的解读;在电影节目的感性设计过程中,创造性地利用电影作为文化表征的渠道,集体感知取向的特殊性;通过参与民族电影的创作过程,创造一种对屏幕信息的导航和对民族电影内容的社会调节;文化光环的转移建立在电影美学与文化美学一致的基础上。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
ETHNODOCUMENTARY CINEMA OF TURKIC PEOPLES AS A FORM OF ETHNOCULTURAL REPRESENTATION
The article presents the analysis of the specific features of ethnic culture representation by means of Turkic-language ethnodocumentary cinema. The authors consider ethnographic film as a cultural phenomenon, emphasizing the author's intention to add the global significance and value to the reflected culture in the films under consideration, which allows it to take its place in world history and on the ethnographic map of the Earth. The author's attitude is based on personal observations, relying on collected knowledge, which has a special representative-author's character that allows to represent the unique conditions of encounter with a culture in unique circumstances. The author, on the one hand, acts as an observer of culture and, on the other hand, becomes a full participant in the reflected events, demonstrating the author's manner and interpreting not only what he sees, but ethnic culture as a whole. Ethnographic films are not always based on ethnic events, but more often on the creation of characters in the narrative, on which the author's emphasis is placed. However, performativity and eventfulness combined with imagery allow the viewer to depict the event as it is perceived based on the viewing experience. The main thing in the film is cultural identity, as expressed through a whole range of images, which leads to an understanding of ethnic identity as a special form of cultural representation of an individual. Among the main features of the Turkic-speaking ethnocumentalism are the following: the anthropological nature of the representation of a person of culture based on a detailed accentuation of everyday life; the search for similarities and differences of cultural texts, which represent traditional formats of everyday life, rituals and mentality; the interpretation of the documentary's author based on his participation in the shooting process; the peculiarities of the orientation of collective perception in the process of perceptual design in the film programme with creative use of cinema as a channel of cultural representation; the creation of a kind of navigation of screen information and social regulation of the content of an ethnofilm by involvement in the process of creating an ethnofilm; the transfer of the aura of culture based on the consonance of the aesthetics of the film with the aesthetics of culture.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
自引率
0.00%
发文量
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:604180095
Book学术官方微信