For all its risks, primitivism potentially offers cross-cultural engagement and new forms of cultural imagination. As the primitivism impulse is redefined by a globally orientated art history, new borders and identities are illuminated. One such figure is the New Zeland-born artist/filmmaker Len Lye (1901-80) whose first film "Tusalava" (1929) was inspired by the Indigenous cultures of Central Australia and the South Pacific. The essay traces its sources, and proposes a Freudian reading in light of an annotated sketchbook of Freud's "Totem and Taboo" (1913). Despite Lye's protestations to the contrary, Freudian psychoanalysis profoundly directed the film. The film's primitivist energy was animated by both the ancient living cultures of Oceania and the then new science of the unconscious. Indeed "Tuslava" is a hybrid work -part surreal animation, part horror film- made as these genres were evolving. Such primitivism was driven by the belief that the origins of self-knowledge lay deep within non-Western cultures.

中文翻译：

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Len Lye 动画 Tusalava (1929) 的海洋原始主义

尽管存在所有风险，原始主义可能会提供跨文化参与和新形式的文化想象。随着原始主义冲动被面向全球的艺术史重新定义，新的边界和身份被照亮。一个这样的人物是新西兰出生的艺术家/电影制片人 Len Lye（1901-80 年），他的第一部电影“Tusalava”（1929 年）的灵感来自澳大利亚中部和南太平洋的土著文化。这篇文章追溯了它的来源，并根据弗洛伊德的“图腾与禁忌”（1913 年）的带注释的速写本提出了弗洛伊德式的解读。尽管莱伊提出了相反的抗议，但弗洛伊德的精神分析深刻地指导了这部电影。大洋洲古老的生活文化和当时的无意识新科学都激发了这部电影的原始主义能量。确实是“图斯拉瓦” 是一部混合作品 - 部分超现实动画，部分恐怖片 - 随着这些类型的发展而制作。这种原始主义是由这样一种信念驱动的，即自我知识的起源深植于非西方文化之中。