蒙古族题材电影的叙事特征及镜语美学（1949-1984）

摘要

To Mongolian Nationality Movies, the year of 1985 is both a time concept and mark of movie aesthetics transformation.This paper discusses Mongolian Nationality feature movies from 1949 to 1984 from perspectives of narrative characteristics and camerawork aesthetics and argues that there’s a built-in link between ethnic creators’identification and artistic style of this kind, and indi-cates the following features:the country image and destiny are closely tied;personal experience and national awakening overlap;political words and ethnic customs incorporate, others’ perspectives and national self-reflection intermingle.As for aesthetic of camera language, those movies follow the principles of objectively recreating life and the consistent realism expression lies in agreements of time and space, time and progress, time and behaviors.This paper holds that restricted by time context, Mongolian movies have historical limits.However, the rich practice offers ethnic movies valuable experience.%1985年对内蒙古族题材电影而言，既是时间意义的概念，又是一种电影美学意义的标志。本文主要探讨的是新中国成立后到1984年间的蒙古族题材故事片。这一时期，蒙古族题材电影的主创人员大都是内蒙古或内蒙古籍的艺术家，蒙古族艺术家占大多数。从电影美学的视角看，这一时期的蒙古族题材影片有着大体一致的范式特征，可以作为电影的一种时代景观进行观照，体现在：“主旋律”影片占绝大多数，其余片目虽与“主旋律”有一定的距离，但主流的价值取向趋同；为数不少的蒙古族身份创作者加入进来，让自我叙述成分为许多影片增添了独特的艺术魅力，但影片在叙事本质上还是他者视角，受时代语境的约束，只能站在中国的大时代背景和主流意识形态的立场讲述蒙古人的故事。其三还体现在镜头语言的运用上，总体而言是坚持现实主义的、以真实性为核心的美学原则，镜头中的时空要旨，事件进展的结构方式，画面构图的布局等形式要素，均以追求真实地再现客观生活为基本准则。老电影的镜语美学特征势必有历史局限，但它们为中国新时期后蒙古族题材电影乃至少数民族电影提供了许多宝贵的经验。