“三千孤儿入内蒙”题材改编影视作品的共同体叙事研究——以电影《海的尽头是草原》为例
Research on Community Narration of Adapted Film and Television Works with the Theme of “Three Thousand Orphans Enter Inner Mongolia”—Taking the Movie “In Search of Last Time” as an Example

共同体叙事是共同体美学在影视创作中新的理论发现，它指向将叙事的重点回归到影视本身，让叙事空间成为创作者与观众“对话”的空间，进而促进对中华民族共同体的认同，是目前中国电影高质量发展的一个重要理论路径。“三千孤儿入内蒙”是蒙古族与汉族携手并进、共克时艰的一段历史记忆，以此为叙事母题进行创作的电影《海的尽头是草原》，在选题上凸显了铸牢中华民族共同体意识的叙事主题，通过叙事视角的巧妙转换增进了观众的文化互认，香港、内蒙古两地创作者的深度合作加深了集体记忆和文化融合，在共同体叙事中建构起少数民族与中华民族之间的民族认同与文化认同，为铸牢中华民族共同体意识作出了有益贡献。
Community narration is a new theoretical discovery of community aesthetics in film and television creation. It points to returning the focus of narrative to film and television itself, making the narrative space a “dialogue” space between creators and audiences, and then promoting the identification of the Chinese national community, which is an important theoretical path for the high-quality development of Chinese films at present. “Three Thousand Orphans Enter Inner Mongolia” is a historical memory in which Mongolian and Han people go hand in hand to overcome difficulties together. The film “In Search of Last Time”, created on this narrative motif, highlights the narrative theme of the Chinese nation’s sense of community in the topic selection and enhances the cultural mutual recognition of the audience through the subtle transformation of narrative perspectives. The deep cooperation between the creators of Hong Kong and Inner Mongolia has deepened the collective memory and cultural integration, constructed the national identity and cultural identity between the ethnic minorities and the Chinese nation in the community narrative, and made a beneficial contribution to the formation of the Chinese nation’s sense of community.