A Study Of Gu Tao’s Ethnographic Documentary From The Perspective Of Film And Television Anthropology

Modern civilization has brought more convenient lifestyle and richer material enjoyment,but at the same time,the traditional way of life of many ethnic minorities has also undergone great changes,and their ways of livelihood,customs and cultural beliefs,which have been passed down from generation to generation,are gradually disappearing under the impact of modernization.Gu Tao focuses his camera on the Oroqen and Ewenki people living in the Daxinganling Mountains in China.He has been moving between the two places for more than ten years and has created ethnographic documentaries such as "Oruguya-Oruguya","Hugo’s Holiday" and "God-Cataract" after long-term observation and recording in the field.This paper takes Gu Tao’s ethnographic documentary as the research object,and explores the uniqueness of Gu Tao’s ethnographic documentary by comparing the domestic ethnographic documentaries of the same subject matter over time,and further uses the theoretical knowledge of anthropology and film science to investigate the creation process and the text of Gu Tao’s ethnographic documentary,including the field investigation in the early stage of creation,the filming method in the middle stage of creation,and the research of the final work.This paper is composed of five chapters.This paper consists of five chapters,each of which is summarized as follows:Chapter 1 first clarifies the concepts and characteristics of film anthropology and ethnographic documentaries with the help of existing domestic and international literature,and further discusses their research methods.After that,we focus on Gu Tao’s ethnographic documentaries on the Ewenke and Oroqen ethnic groups and domestic ethnographic documentaries on the same topics,and then we try to explore the characteristics of Gu Tao’s ethnographic documentaries by comparing them horizontally and vertically.The second chapter analyzes Gu Tao’s ethnographic documentary film from two aspects,namely,the field research before creation and the field work during filming,and examines Gu Tao’s field work in terms of field methods and field emotions,so as to examine his creative perspective and height,his understanding and interpretation of local ethnic culture,and the rigor of capturing ethnic psychology in his ethnographic documentary film.The third chapter focuses on Gu Tao’s ethnographic documentary film,interpreting the thematic construction and cultural representation of the film in a deeper way,exploring the deeper thematic connotation of his ethnographic documentary film through the in-depth exploration of the living space,the world of living beings,the human form and the origin of Xingling of the "E ethnic group",and analyzing the ethnic psychology of Ewenke and Oroqen expressed in the film.Chapter 4 examines the aesthetic expression of Gu Tao’s ethnographic documentary,and discusses the relationship between authenticity and artistry through the analysis of the narrative strategy,the use of long shots,the creation of poetic style and the audiovisual language of metaphorical representations.Chapter 5 reviews Gu Tao’s ethnographic documentary as a whole,explores the intrinsic value and meaning of his works,considers the ethical orientation of the filming process,and conducts a holistic reflection.Gu Tao’s ethnographic documentary film’s poetic presentation of the local environment,realistic presentation of the local people’s living conditions,and profound interpretation of the local culture reflect the director’s meticulous observation perspective,poetic video style,and deep humanistic concern.Through his ethnographic documentaries,more viewers began to pay attention to the current living conditions of Oroqen and Ewenki people,and began to pay attention to the protection of these disappearing ethnic cultures.Gu Tao’s experience in creating ethnographic documentaries also provides a reference value for the creation of ethnographic documentaries on ethnic minorities in China nowadays.