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Authenticity and Anthropophagy in Kayapó Film Production
Current Anthropology ( IF 3.226 ) Pub Date : 2021-04-09 , DOI: 10.1086/714080
Glenn H. Shepard , Richard Pace

Over the past three decades, films made by the Mebêngôkre-Kayapó people of Brazil have shown a distinctive and remarkably stable cinematic aesthetic, manifest in a set of filming, framing, and editing conventions first documented by Terence Turner. These films diverge significantly from Indigenous film productions documented elsewhere in Latin America, which tend to borrow more heavily from commercial cinematic codes and film genres. This contrast raises important issues about the personal, social, cultural, and political motivations behind such aesthetic and genre choices among different Indigenous peoples while posing the more fundamental question as to what exactly makes Indigenous media “Indigenous.” In this article, we describe what we identify as a Kayapó film aesthetic and discuss reasons for its continuity over time. We also consider the influence of hybridity, widely discussed by Indigenous media scholars elsewhere, but turn instead to the notion of anthropophagy as a more powerful root metaphor for understanding Kayapó film production. Although anthropophagy as an actual cultural practice and cosmological metaphor is generally associated with Tupi-speaking peoples of Brazil, culturally and linguistically distinctive from the Kayapó, the concept as applied by scholars of subaltern cultural productions helps us better understand the maintenance of Indigenous authenticity in Kayapó film production as the group navigates technological and sociocultural transformations.

中文翻译:

卡亚波电影制作中的真实性和自食癖

在过去的三十年里,由巴西 Mebêngôkre-Kayapó 人制作的电影展现了一种独特且非常稳定的电影美学,体现在由特伦斯·特纳 (Terence Turner) 首次记录的一系列拍摄、取景和剪辑惯例中。这些电影与拉丁美洲其他地方记录的土著电影作品大相径庭,后者往往更多地借鉴了商业电影代码和电影类型。这种对比提出了关于不同土著人民之间这种审美和流派选择背后的个人、社会、文化和政治动机的重要问题,同时提出了更基本的问题,即究竟是什么使土著媒体成为“土著”。在本文中,我们描述了我们认为的 Kayapó 电影美学,并讨论了其随着时间的推移而具有连续性的原因。我们还考虑了其​​他地方的土著媒体学者广泛讨论的混合性的影响,但转而将食人这一概念作为理解 Kayapó 电影制作的更强大的根本隐喻。尽管作为一种实际的文化实践和宇宙学隐喻,食人论通常与说图皮语的巴西民族有关,在文化和语言上与卡亚波人不同,但底层文化产品的学者所应用的概念有助于我们更好地理解卡亚波人对土著真实性的维护团队在技术和社会文化变革中进行电影制作。而是转而将食人这一概念作为理解 Kayapó 电影制作的更强大的根本隐喻。尽管作为一种实际的文化实践和宇宙学隐喻,食人论通常与说图皮语的巴西民族有关,在文化和语言上与卡亚波人不同,但底层文化产品的学者所应用的概念有助于我们更好地理解卡亚波人对土著真实性的维护团队在技术和社会文化变革中进行电影制作。而是转而将食人这一概念作为理解 Kayapó 电影制作的更强大的根本隐喻。尽管作为一种实际的文化实践和宇宙学隐喻,食人论通常与说图皮语的巴西民族有关,在文化和语言上与卡亚波人不同,但底层文化产品的学者所应用的概念有助于我们更好地理解卡亚波人对土著真实性的维护团队在技术和社会文化变革中进行电影制作。
更新日期:2021-04-09
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