| In the modern national system,the construction of national image matters the status and reputation of a country in the international community.In recent years,with the rapid development of Chinese economy and continuous improvement of her international status,how to construct China's national image has become an important issue in the process of China's rise,and will profoundly affect China's domestic and foreign policy,and international status.As an important embodiment of the national image,Xinjiang's image which is constructed by Xinjiang's special geography condition and multi-culture,has an important significance in constructing the national image.Xinjiang minority films has a unique position in Chinse films,and has become an important force to participant in the construction of Xinjiang's image and even national image.They not only rebuild the cultural imagination of Xinjiang Minority,but also become an indispensable part of building Chinese political community and cultural community.The cognition of the national image is multi-dimensional.From the perspective of cultural dimensional,the National Image of Pluralistic Integration of Chinese Nation(NIPICN),which is constructed on "Pattern of Pluralistic Integration of the Chinese Nation",is an integration of the state ideal of "value your own civilization,and that of others.If they can co-exist,we will share the world peacefully" and the construction goal of"Harmonious China" in reality.Construction and spreading of NIPICN not only helps Chinese minority nationalities to form the community of identity,but also fits the great image of powerful oriental country to seek a peaceful rise and share a same future with the world.This dissertation takes the Xinjiang minority films produced in Chinese mainland since 1949 as the research object Through close reading,fieldwork,combining history with theory,and other methods,and using theories from theory of literature and art,filmology,sociology,cultural anthropology,film folklore,film-television dissemination,and other theories,this dissertation combines the development course of Xinjiang minority films with the shaping,spreading and visualization changes of national image,analyzes the different aspects of how the national image is shaped and spread in the various historical periods of Xinjiang minority films,unearths the significance of film dubbing,distribution,screening,"going out",and award-winning to the spreading of national image,focus on how the space,gender,director,and folklore construct idealistic national image,and considers the visualization construction and spreading strategies of national image.It is hoped that the present study summarizes the about 60 year's development of Xinjiang minority films on the one hand,discovers the internal expression pattern of how Xinjiang minority films construct the national image on the other,and provides theoretical basis of its "going out" under the "one belt one road" background.This thesis is divided into three parts:introduction,main text,and conclusion.The body part of main text consists of four sections:construction,spreading,expression,and strategies of national image in the Xinjiang minority films,in which the emphasis is the former three sections.The introduction part explains the or background,significance,and value of this dissertation's topic,summarizes the focus,defines relevant concepts,makes the literature review,and clarifies the research thoughts and methods.Chapter I introduces the theoretical basis of the whole text.This chapter illustrates the significance of constructing Xinjiang's image to the national image,through the internal connection between Xinjiang's image,NIPICN and "Harmonious China",Xinjiang minority films,and the national image.At last,this chapter provides theoretical basis for Xinjiang minority films to construct the national image.Chapter II is the historical review part.This chapter combs creation and dissemination of Xinjiang minority films,and the visualization evolution of the national image.According to the time brands of Xinjiang minority films producing,the shaping and spreading processes of national image is divided into three stages:"New China"(1949-1966)formation,""New Era"(1977-1999)development,and"New Century"(Since 2000)prosperity.This chapter discusses of the creation and dissemination of Xinjiang minority films and the evolution paths of national image,and points out the closely relationship between the construction of national image and social politics,culture,economy in every stage,in which the construction process of national image is not only the pursuit of history,but also the reflection of social reality.The key part of this thesis is from chapter ? to chapter ?.Text analysis is adopted to locate the significance and role of the space,gender,director and folklore in the construction process of national image.The chapter ? uses references from the"space" theory in the media geography,cultural geography,and ecological anthropology to excavate the significance of geographical space,geographic landscape,and ecological space in the Xinjiang minority films.In the term of space expression,Xinjiang minority films have displayed the national image in several dimensions,which enables the audiences to get a sense of nationhood through the space of identities.The chapter IV uses references from the gender theory,through the difference analysis of gender concept and living circumstances of both sexes,to demonstrate the countless ties between gender and national image,and to view the construction strategies of national image from the perspective of gender discourse system.The chapter V uses identity theory for reference to discuss how the directors of Xinjiang minority films' with diversified cultural traditions and ethnic identities got their national identity through their feelings of family and nation and integration of family and nation in narratives,and shaped themselves as the defenders of NIPICN,under the long-term influence of Chinese culture and the culture interaction,in which they consequently showed a distinct tendency of integration.The chapter VI uses theories from cultural anthropology and film folklore for reference,and takes the pluralistic expression of film and folklore as an important part of constructing NIPICN."Pluralistic" focuses on the prosperity and development of various ethnic films and the multi-layered performance of different types(material,social and spiritual)of folk culture in each ethnic film.Thus,exploring the harmonious cultural factors of folk custom and the common cultural memory of the Chinese nation constructed by collective memory is an effective way to realize the "pluralistic"expression of folk culture.Chapter ?,according to the problems of how the Xinjiang minority films constructed and spread the national image,puts forward the strategies of visualization constructing and dissemination.The special geography of Xinjiang determines that Xinjiang minority films have always been the ideological battlefield for maintaining"ethnic unity" and "social stability".Film industry should consider organic combination of "battlefield" and "market" to return its essential attribute in the greatest extent possible.Therefore,according to the deficiency of films' visualization constructing and dissemination,solutions are proposed from the perspectives of creators and disseminators respectively.Specifically,from the perspective of creators,edit the film contents well,write true stories of Xinjiang,and gather positive energies of Xinjiang;from the perspective of disseminators,set up a good bridge of films,and spread harmonious China's image.The conclusion part gives the summary and prospect of the development of Xinjiang minority films in the future,and proposed several principles to follow or learn,in order to achieve the idealistic expression of national image. |
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