The Paper
2020 is an extremely unusual year, whether it is the sudden new crown epidemic or the unprecedented changes in a century, all of which are calling for dialogue and cooperation to human society, in this context, the 6th China National Film and Television High-level Forum with the theme of "Dialogue and Transcendence" was held in the Central University for Nationalities on November 7-8.
Jointly sponsored by the Minzu University of China, the Ethnic Film and Television Professional Committee of the Film and Television Society of Chinese Universities, and the Ethnic Film and Television and Film and Television Anthropology Professional Committee of the Chinese Ethnology Research Association, the forum brought together scholars from multidisciplinary and multi-ethnic groups such as ethnology, anthropology, language and literature, journalism and communication, and sociology to discuss the research and creation of ethnic film and television and film and television anthropology. The Joint Annual Meeting of the Interdisciplinary Committee looks forward to promoting multidisciplinary exchanges and dialogues on the research and creation of ethnic film and television and film and television anthropology, so as to realize the transcendence and research innovation of national film and television creation.
Forum site
The forum included 8 conference speeches and 28 keynote speeches, and scholars engaged in dialogue and exchange from multidisciplinary backgrounds such as film and television, anthropology, communication, sociology, literature and culture.
Ding Yaping, director of the Institute of Film and Television Arts of the China Academy of Arts, pointed out that the story of the nation is the story of the country and the story of the world, "China is a multi-ethnic country that lives and integrates. Therefore, the problem of ethnic minority films is not only a problem of ethnic films, but also a problem of China. Based on the social reality and national conditions of China's multi-ethnic groups, ethnic minority films are naturally indispensable genre themes in Chinese films, and they play an important role in expressing the lives, customs and styles of ethnic minorities and disseminating national culture. According to incomplete statistics, from the founding of New China in 1949 to 2019, there have been thousands of ethnic minority film feature films filmed and released in China, and excellent ethnic minority films have shined. Many ethnic minority films involve major changes and historical reflections in China's development process, showing a pluralistic connotation of the times, and should go from the edge to the center and into the market. ”
Ding Yaping, director of the Institute of Film and Television Arts of the China Academy of Arts
Film and television anthropologist and documentary filmmaker Liu Xiangchen shared his own summary of "similarities and differences between documentaries and film and television anthropology films" from his shooting practice. He pointed out that as the expression of the same documentary video system, documentaries and film and television anthropological films have many similarities, and the two have their own different connotations and clear boundaries. First of all, the author's position is different, the general documentary mostly takes the director as the "main position", and the discursive authority of the film and television anthropological film is not on the author's side but on the side of the cultural holder and creator as the subject of the shooting; secondly, the difference in the way, the documentary pays attention to the interaction with the audience, and the end of the appeal is to "pleasant" the audience as the highest value; film and television anthropology does not refuse to interact with the audience, but its main purpose is more concerned with the completion of the academic text, to complete the interpretation of cultural matters and behaviors. Manifested in motivation, the survival logic of the general meaning of documentaries is mostly market-oriented, strengthening watchability and drama is its only law, film and television anthropology pays more attention to the completion of academic texts, strictly abides by the research paradigm and ethics of the discipline, and is a participatory observation and description.
Film and television anthropologist and documentary filmmaker Liu Xiangchen
In terms of discussing how Chinese national film and television have entered the international vision, Li Ran, dean of the School of International Exchange of the Beijing Film Academy, took the success of the film "Tehran: City of Love" co-produced by the United Kingdom, Iran and the Netherlands as an example to tell everyone how the common story motif of mankind crosses the cultural barrier. She believes that we should take root in national culture and tell common stories, "Film is an important carrier of national culture dissemination, carrying national image, values, etc., and international film festivals, as the field of national film dissemination, can promote exchanges between international cultures."
In the discussion on ethnic film and television in other countries, Tan Zheng, editor-in-chief of Film Art, analyzed the caste criticism in the lens language and justice in aesthetics with the theme of "Caste Criticism in Indian Cinema"; Professor Han Hong of the University of Electronic Science and Technology of China introduced the development trend and production and broadcasting experience of foreign minority television to the participants; Professor Hu Puzhong of Capital Normal University made a keynote speech on the adjustment of the vision and paradigm transformation of ethnic film and television research.
Zhu Jingjiang, director of the Film and Television Anthropology Center of the Central University for Nationalities, summed up and reflected on the experience of Chinese ethnographic documentaries in the past decade, he introduced the ethnographic documentary creation in the context of "scholar film", the fieldwork concept of video ethnography and the ethnographic film research of audio-visual literature, and believed that the past decade was a "new wave" era in which Chinese ethnographic documentaries were moving towards prosperity, not only because film and television anthropology entered the scene in this period, but also promoted the vigorous development of academic influence, but more importantly "From the central government to the private community, from the academic circles to individual film and television workers, from the metropolis to the frontier villages, there is a consensus one by one: China's social changes and cultural inheritance urgently need to be fully truly recorded in the form of images." Recording the times and watching over civilization' is the core value of ethnographic documentaries."
Zhu Jingjiang, director of the Film and Television Anthropology Center of the Central University for Nationalities, delivered a speech
Fu Xiaoxing, deputy dean of the School of Society and Population of Chinese Min University, introduced three important keywords around the two contexts of film and television anthropology and documentary: camera, image and text. In her opinion, "the camera dares to disturb the conventional facts pursued by ethnographic films, change the original field structure, and guide the multiple relationships between the camera and the photographer and the subject", so the camera shoots not only as a material medium, but also as an actor in the field.
In addition to the keynote speeches, the forum also includes three sub-forums of ethnic film and television, film and television anthropology, and international communication of ethnic film and television, as well as two units of screening and director's workshop. The participants of the sub-forum made speeches on the international communication research of ethnic film and television, the research of ethnic film and television and anthropology, and the research and creation of ethnic film and television in the new era.
Sub-forum exchange site
The following screening session screened six films, "Always Looking at You", "Dr. Brown", "Kusbek", "Together", "Shadow Puppet, Movie and Kuaishou" and "Wuhan New Year in the Mobile Phone", providing a double feast of vision and knowledge for the audience.
Screening and director exchange meeting scene
With the progress of science and technology and the development of the times, 5G and other technologies will gradually be applied to the creation of national film and television, and the mutual integration of science and technology and humanities has put forward new problems for the future development of national film and television. This forum pays attention to the integration and development of national film and television and anthropology and other disciplines, which has become an intertextual relationship with the times, recognizing the differences between cultures in the dialogue of different disciplines, and finding commonalities in differences, in order to build a more perfect community of human destiny.
The 6th National Film and Television High-end Forum represents a high level of research in the field of contemporary Chinese national film and television and film and television anthropology, and scholars from different disciplines such as film and television art, film and television anthropology, audiovisual communication, and international film and television exchanges have carried out active and pure academic exchanges on this mutually shared academic platform, built a more diversified and inclusive academic community, and practiced the academic ideal of "each with its own beauty, the United States and the United States". The film festival unit of this forum has also reached a high level, and a number of domestic premiere film and television works have made important breakthroughs in academic exploration, artistic expression, image innovation and other fields, highlighting the vigorous vitality of contemporary national film and television and film and television anthropology creation.
Editor-in-charge: Cheng Yu
Proofreader: Ding Xiao