Folklore Presentation And Cultural Identity From The Perspective Of "Theme" And "Guest"

The Mongols, who has been living a nomadic life of migrating to wherever water and grass are available for thousands of years, gradually civilized with its own culture,production mode and lifestyle. The folklore, as the most direct reflection of its own culture, can well explain Mongolian culture via a unique way called “Audio-Visual Language of Film”. This thesis illustrated with contemporary Mongolian movies,combining theories in the areas of folklore, humanity and audio-visual language with interviews to different Mongolian professionals and my own understanding towards their culture and lifestyle, is to analyze the differences of how the movie producers view the folklore. And this thesis is also aimed at reviewing, understanding and remodeling the culture of Mongol through folklores, so as to inspire people who are culturally perplexed in the current era.The first chapter goes with Mongolian movies in four continuous periods of time from “The Communist Era” to”the New Century Era”, analyzing the features and main purposes of those movies in different time.The second chapter explains and divides the folklore that appears extensively in Mongolian movies in the New Century Era into four specific categories---Material,Linguistical, Social and Spiritual folklores. And it clarifies the reasons of artists with different cultural background do it differently.The third chapter specifically analyzes the reasons of movie producers with different cultural background present the differences of folklores in three aspects: the changes of value orientation in a global background, the tendency of cultural perspectives in multiculturalism and the anxiety of assimilation in the development of urbanization.The forth chapter discusses if the folklore presented in the movies accords with the aesthetics of local folks and both acceptance and doubts from them regarding the movies, which is demonstrated with interviews to different Mongolians, so as to illustrate the cultural identification in the current era of great diversity.The fifth chapter summarizes some problems and personal opinions from the presentation of folklore in Mongolian movies in the New Century Era, as well as some personal suggestions towards the practice of folklore in the film industry of ethnic minorities with the example of Mongolian movies.