摘要
在藏边社会的研究途径中，影像研究是一种有独特价值的进入方法。从1900年至今，不同背景的影像作者在藏边地区创作了大量的作品，记录了很多特定时空中的真实事件与历史人物。以近一个世纪以来有关藏边社会的影像文本为切入点，主要可划分为三个时期进行观察与研究。第一个时期是1900～1949年，即清朝末年至中华人民共和国成立前的的“闯入者的窥视期”；第二个时期是1950～2000年，即“国家／精英视角的审视期”；第三个阶段是从2001年至今，即“藏边社会的自主表达期”。通过探讨不同时期的“藏边影像”所呈现的社会形态与文化图景，揭示这些影像背后的文化立场、创作方法与权力关系。
Among various means of studying Tibetan borderland society, visual recording has some unique significance. From 1900 till now, visual - recording makers have produced numerous works of real events and historical figures in some specific time and space. This paper focuses on visual texts of the past one hundred years which fall into three periods as follows ： the first period＇from 1900 to 1949 as the period of the intruder＇s glimpse,that is, from the ]ate Qing dynasty to 1949 before the founding of the People＇s Republic of China; the second period from 1950 to 2000 as the period of the state/elite＇s examination; the third period from 2001 to the present as the period of the free expression of Tibetan borderland society. The study of such photos in different periods will help reveal different social and cultural forms as well as the cultural standpoints, power relations, and methodology of the photo producers.
出处
《云南民族大学学报（哲学社会科学版）》
CSSCI
北大核心
2014年第1期54-61,共8页
Journal of Yunnan Minzu University(Philosophy and Social Sciences Edition)
关键词
藏边社会
影像民族志
影像赋权
主体表达
Tibetan borderland society
visual ethnography
power derived from visual texts
subjective expression
