人类学影片目录

Film catalogue （1957-2002）
1	The Lis	2	The Yis in the Liangshan Mountains	3	The Vas	4	The Ewenkis at the Erguna River
5	The Kucongs	6	The Drungs	7	The Tibetan Serfdom	8	The Jingpos
9	The Serfdom in Xiaheleke Town, Xinjiang	10	The Dais' Society of Serfdom in Xishuangbanna	11	The Orochens	12	The Yaos in the Dayao Mountain
13	The Hezhes' Life of Fishing and Hunting	14	Culture and Arts of the Naxi in Lijiang	15	Azhu Marriage of the Naxi in Yongning	16	The Dengs
17	The Miaos' Arts and Crafts	18	The Dragon Boat Festival of the Miaos in Shidong	19	Cultures and Arts Festival of the Shes	20	The Ancestral Temple in the Village of Dalin, Fu'an County
21	The Portraits of the Ancestors in Xiaping Village, Xiapu County	22	Taoist Rites Performed in the Sanqiutian Village, Fuding County	23	The Memorial Ceremony for the Ancestors and Taking the Master As the Teacher	24	She Women's Adornments for the Head and the Dress
25	The Shes' Whu Shu	26	The She Wedding in the Xin Village, Xiapu County	27	The She Wedding in Nanshan Village, Lianjiang Town	28	The Lis' March 3rd Festival
29	The Lis' Dress and Personal Adornments	30	The Lis' Folk Craftsmanship	31	Li Women's Convention of Tattooing	32	Scenery And Tourist Resorts in Hainan
33	The Famous Historic and Cultural Sites of the Bais in Dali	34	Bai Architecture in Dali	35	Carving, Painting, Calligraphy, Literature and Ancient Books of the Bais in Dali	36	Craftsmanship and Art of the Bais in Dali
37	Cooking Culture And Special Local Products of the Bais in Dali	38	' March Street '- the Festival Celebration of the Bais in Dali	39	The Shibaoshan Song-Gathering	40	Benzhu Worship of the Bais in Dali
41	Funerals of the Bais in Dali	42	Samsara And Circles	43	The Functioning And Structure of the Water Mill of the Tibetan Ethnic Group	44	The Tibetan Art of Block Printing
45	Indigenous Methods of Panning	46	The Semi-girder Bridges in Kangnan	47	Life of the Tibetan Farmers in Kang Area	48	One Day's Life of the Tibetan Nomads in Kang Area
49	The Buddhist Ceremony of Buddha's Warrior Attendants in Geng Qing Temple	50	Catholic Practices in Kangding	51	The Nomadic Economy of the Kasakhs	52	The Scenery And the Famous Historic and Cultural Sites in Kasak Areas
53	Material Culture of the Kazakhs	54	Kazakhs' Festivals and Entertainments	55	Kazakh Music, Dances, Arts and Crafts	56	The Kazakh Marriage
57	The Kazakh Traditional Funeral	58	The Kazakhs' Religious Belief	59	The Kasakhs' Cultural Education	60	Herding in the Fall--Nomadic life of the Mongols in Xin Barag Left Banner
61	The Autumn Ceremony of Scripture Chanting and Exorcising at Yanshoubaoming Temple	62	Exploring the Origin of the ' Pastoral Song '	63	《隆务河畔鼓声》	64	维吾尔族传统手工
65	维吾尔族手工业	66	仲巴昂仁	67	年都乎的岁末	68	喀什牲口巴扎
1	黎族 1. The Lis (6 reels, 35mm, black-and-white, shot in 1957, completed in 1958, 45'16", VHS / BETACAM-SP) Before 1950s, the Lis live in the central part of the great Wuzhi Mountains that are buried in dense forest. They lead a traditional way of life with a remnant of the family commune, that is, Work-the-Land-Together System (He Mu). Each He Mu is composed of several or over ten patriarchal families. In this system, the land is put under centralized management. Farm produce is distributed equally. They have their unique customs and festivals.
2	凉山彝族 2. The Yis in the Liangshan Mountains (6 reels, 35mm, black-and-white, 45'16", shot in 1957, completed in 1958, VHS / BETACAM-SP) Living in the Liangshan area with rolling hills and deep valleys in Sichuan Province, the Yis led a hard and laborious life. Traces of slavery and patriarchy are still found in production and productive relationship. The democratic reform during 1950s brought about great changes in the Yis' society. The slaves who had been oppressed for generations are liberated. The government distributed large numbers of farming tools, grain and clothes among the slaves, and mediated old disputes.
3	佤族 3. The Vas (4 reels, 35mm, black-and-white, 24'44", shot in 1957, completed in 1958, VHS / BETACAM-SP) The Vas' moutain villages sit in the embrace of emerald green bamboo, looking up towards the lofty Ximeng Moutains in Yunnan. The film focused on the social organization of the Vas in Ximeng in early 1950s. The Vas there are still in the transitional period from the late primitive society to slavery. The authorities of the village belonged to the general conference of all males. The old village passes and the interwoven fortified walls and traps witnessed the frequent fighting between villages. The cattle-stabbing ceremony is a primitive religious practice. The 'girl-dating' custom is symbolic of primitive group marriage system. Their embrace of 'modern civilization' has resulted in the building of the first reservoir in the Ximeng Moutains.
4	额尔古纳河畔的鄂温克人 4. The Ewenkis at the Erguna River (5 reels, 35mm, black-and-white, 29'34", shot in 1957, completed in 1959, VHS and BETACAM-SP) In the snowy forest on the banks of the Erguna River, live the brave Ewenkis. They have been leading a nomadic hunting life generation by generation, tracing the footprints of wild animals in the endless primitive forest. They tame reindeer for livelihood and transportation, and drink nutritious reindeer milk. There are organized in family communes known as 'Wulileng'. Collective production and equal allocation of products are their sacred principle. They worship the god of fire and do not put off the fire even after cooking. Three times a year, they barter the bag for daily necessities. Their much-prized game can only be exchanged for a box of matches or a sack of rye flour when they trade with unscrupulous merchants. Infections and fighting between tribes bring the Ewenkis to the verge of extinction. However, the kind and brave Ewenkis survive to see their new life...
5	苦聪人 5. The Kucongs (4 reels, 35mm, black-and-white, 38'48", shot in 1959, completed in 1960, VHS and BETACAM-SP) The Kucongs live in houses made of plantain leaves and bamboos, which locate in the deep primitive forest in the Ai Lao Mountain of Jinping County, Yunnan Province. The Kucongs' society is still in the transitional period from the late primitive society to patriarchal communes. Led by the male elders of the family, they conduct a slash-and-burn economy, and live as roving hunters. They worship their ancestors, carrying their forefathers' memorial tablets wherever they go. A sacrificial rite is held first when they arrive at a new place. They tell their fortune and diagnose diseases by divination. It is men who go beyond the forest to conduct trade by barter with the Hanis. The Kucongs exchange leather, dried meat and baskets for iron boilers, small curved knives and salt. Their life is eventually changed. They come out of the dense virgin forest and begin a new settled life.
6	独龙族 6. The Drungs (6 reels, 35mm, black-and-white, 5'50", shot in 1960, completed in 1961, VHS and BETACAM-SP) The Drungs live in long houses on the terrace along rivers in the valley between towering mountains of Gongshan County, Yunnan Province. Drungs' society is in the last stage of the patriarchal commune system. A big family consists of several generations and forms a consanguineous family living in separate villages. They conduct a swidden economy and dig the field with curved tree branches for planting maize. The harvested maize and other grains are allocated according to communal regulations. Gathering fruits and root tubers also supplement their diet. Men not only lay traps and crossbows to hunt animals, but also are good at making bamboo articles. They use a sliding rope to cross a river and climb up cliffs with the help of a high ladder. The sorcerer presides over a praying ceremony during festivals. He is also responsible for diagnose the patient and rid him of evil. In the recent past changes take place in Drungs' life. They can see a doctor when ill. Rattan bridges lie across the Dulong River, on both sides of which land is cultivated for rice.
7	西藏的农奴制度 7. The Tibetan Serfdom (7 reels, 35mm, black-and-white, 62'14", shot in 1960, completed in 1961, VHS and BETACAM-SP) This film is a brief representation of the feudal serfdom in Tibet before democratic social reform in terms of social structure, economic system and unification of the state and the church. It also unfolds the relationship between serfs and their owners between whom there is a great gap with regard to their political and economic statuses and life standards.
8	景颇族 8. The Jingpos (6 reels, 35mm, black-and-white, 54'51", shot in 1960, completed in 1962, VHS and BETACAM-SP) Primitive ways of life still exist in the Jingpo society who populate such counties as Luxi, Ruili, Longchuan and Yingjiang in Dehong Autonomous Prefecture, Yunnan Province. They mark their land (hao di) by putting some straws onto the cut in a tree to make claim of the wasteland. They settle disputes by divine verdict. Sacrifices are offered to drive away illness or at funerals. Mu naonao is a grand religious ceremony. In addition, this film depicts mode of production, social hierarchies, exchanges, feud, the family, and marriage. Social progress since after 50s is also focused.
9	新疆夏合勒克乡的农奴制 9. The Serfdom in Xiaheleke Town, Xinjiang (6 reels, 35mm, black-and-white, 50'37", shot in 1960, completed in 1962, VHS and BETACAM-SP) This film mainly represents the feudal serf system in the Uygur society in Xiaheleke Town, Moyu County, Xinjiang. The serf keepers own land on the estates. Serfs work for nothing on most of the land and they have a small proportion for themselves on lease. For leasing every 20 acres, a serf must work for his owner in return for many years at the cost of his freedom. The serf keepers indulge themselves and paid no care to production. The serfs are not capable of bettering farming tools. Therefore the productive force is retarded. The main farming tool is Kan Tu Man, similar to the hoe and the wooden plough. Since the handicraft industry there is tied up with agriculture, they themselves make necessities for daily life and tools for production. Some skilled handymen rarely put their products on market. Instead, they capitalize on their skills by weaving four pieces of cloth for one piece of cloth as payment. The local peoples' religion and customs are also covered in the film.
10	西双版纳傣族农奴社会 10. The Dais' Society of Serfdom in Xishuangbanna (12 reels, 35mm, black-and-white, 112'58", shot in 1960, completed in 1962, VHS and BETACAM-Sp) Buddhist temples and towers and Dais' thatch huts stand out in the rainforest of pipals, betel-nut trees, coconut trees and banana gardens in Xishuangbanna, Yunnan Province. The villagers under the feudal serf system have to offer big fishes they catch and half of the game. Newborn babies will be taken to see their owners. The farmland is divided into 'family land', 'village land' and 'private land'. There is a rigid caste system within the dominant class. The serfs are largely divided into two strata relevant to their family background. They are devoted Buddhist believers. Every man aged 7 to 20 will become a monk in the temple and receive religious education. Every village has its own deity. Grand religious ceremonies are held in festivals every year according to the Dais' calendar. The consultative court, their administrative organization, dates back to the tribal council with a form of primitive democracy. The council makes use of codes written in the Dais' language. This film also gives coverage to their production management, marriage, funerals and so on.
11	鄂伦春族 11. The Orochens (8 reels, 35mm, black-and-white, 71'57", shot in 1962, completed in 1963, VHS and BETACAM-SP) In the snowy and feathery virgin forest along the border between Heilongjiang Province and the Inner Mongolia Autonomous Region, there are the Orochens who lead a life of hunting. Small Orochen families live in tepees of birch boughs and bark. Generally, five or six houses form a territorial organization. The hunting ground is publicly owned and the hunters usually go hunting in their accustomed areas. They choose elderly and experienced people to conduct the activity. Horse-drawn Sleighs and boats that are made of birch bark are their means of transport. Horses owned by a family should not be put to use at will, and holy horses with red and yellow ribbons are neither for riding nor draught The believed in dozens of deities. The shaman is the mediator between men and deities and conducts different kinds of ceremonies. The Orochens are still keeping their particular way of life, manners, customs, weddings and funerals.
12	大瑶山瑶族 12.The Yaos in the Dayao Mountain (12 reels, 35mm, black-and-white, 110', shot in 1963, completed in 1964, VHS and BETACAM-SP) The Dayao Mountain is located in the center of Guangxi. The Yaos living there are known by different names according to their different languages and customs. This film records their production, management, political system, religion, family life, etc. The Pan Yao and the Shan Zi Yao are both called the, because they move frequently and cultivate land in different areas. The Cha Shan Yao, the Ao Yao and the Hualan Yao are also known as s because they keep long hair. The Mountaineering Yao mainly farm on hills, while the Long-Hair Yao work in the marshy field. They are divided into two groups: and common people. Most of the mountain chiefs are Long-Hair Yao, who possess a great deal of natural resources and own all the beasts, birds in the mountain and fish in the river. They also have different kinds of feudal privileges. The common people are those Mountaineering Yaos, who have no possessions and must pay tax to the mountain chiefs; even their drinking water is taxed. In the Dayao Mountain, there is a special stone the inscription of village regulations, standing by the village. The Yao worship many deities, most of whom are human deities with names that are used the Hans and the Zhuangs. Only a small number of those deities belong to the Yao nationality. Grown-up ceremonies are held for men at the age of fifteen or sixteen, who are then eligible to get married and obtain the social status they ought to get. Young people have their own right of courting. After marriage, either of the couple can date another lover as is permitted by the custom.
13	赫哲族的渔猎生活 13. The Hezhes' Life of Fishing and Hunting (5 reels, 35mm, black-and-white, 49'30", shot in 1964, completed in 1965, VHS and BETACAM-SP) The smallest minority group in China, the Hezhe, live where the Song Huajiang River, the Hun Tongjiang River and the Wu Sulijiang River converge. They spent most of the year fishing, adapting to the natural environment here where there are numerous lakes, networks of rivers and dense forests. They are skilled fishermen and know well the habits of their catches, whose species, size and moving directions they can tell according to the undulation of water. The fishing ground is publicly owned. Fishing groups will respect each other's interest when they meet in the same spot. Smooth fishing is ensured by many taboos. They burn incense and kowtow to the gods of river and water and to the dragon king, praying for a good catch. The busy seasons of the year come with the high water in spring and fall. In winter, they dug holes in the ice over the river for fish. Only for two months in summer, they stop to fix fishing boats and nets. Several people go together on the winter hunt. Hunting dogs always run in front tracing footmarks of wild animals. The Hezhe believe in shamanism and practice exogamy. They are distinguished for their customs of marriage and funeral.
14	丽江纳西族的文化艺术 14. Culture and Arts of the Naxi in Lijiang (3 reels, 35mm, black-and-white, 26'44'', shot in 1966, completed in 1978, VHS and BETACAM-SP) Lijiang in Yunnan Province, set in old tall trees and blossoming flowers, the place is famous for its beautiful natural scenes in addition to colorful cultures and arts of the Naxi. Naxi buildings such as civil houses are decorated with nice patterns on the windows and the doors. Splendid golden castles and temples are covered with copper tiles with their particular style. The different kinds of crockets, woodcarvings, clay figures and frescoes from Ming Dynasty tell the supremacy of technique. The over five hundred volumes of Dong Ba scripture in the pictographic script, drawn by the Naxi a thousand years ago, are extremely valuable as remains of the culture. Naxi copperwares are nice and useful. Their silverwares, made by women and used as trappings and embroideries, are delicate and beautiful. Naxi songs, dance and their ancient music have their own particular characteristics.
15	永宁纳西族的阿注婚姻 15. Azhu Marriage of the Naxi in Yongning (6 reel, 35mm, black-and-white, 54', shot in 1965, completed in 1978, VHS and BETACAM-SP) Youngling is a plateau basin in Yunnan Province at the elevation of over 2600 meters, with several Naxi villages around the periphery. The Naxis exercise Azhu marriage, the traditional marriage system based on matriarchal families. Azhu means 'friend'. According to this marriage system, men and women, without formal marriage, live and work together in their mothers' homes. The woman's family keeps the children who carry the blood of the maternal side and inherit property by rule. In their own house young women live with their male Azhus in bedrooms while young men did not have their exclusive bedrooms in theirs. They do not have "grandfathers" or "fathers" in family, where all men are "uncles". This film also shows the rites of passage for girls and boys, the way young people court and their family life.
16	登人 16. The Dengs (6 reels, 35mm, black-and-white, shot in 1976, completed in1977, VHS and BETACAM-SP) Chayu in southeastern Tibet in China is a place with warm weather, sufficient rain, fertile soil and magnificent scenery. The Dengs living there still kept the remains of the clan system at the last stage of the primitive society. A community of several families lives in the remote and thickly forested mountains. There are regional chieftains and the elders in family arrange production and daily life. They mainly live on agriculture with a low level of productivity. The land is under a slash-and-burn system without any fertilization or irrigation. They prohibit marriage between people with same surnames. Cattle are exchanged for wives and women from rich families worth over ten cattle. Cattle are not used for production but for exchanges for goods or food that are needed for religious ceremonies and other social rituals. Sorcerers will be invited to expel ghosts when people fall ill. The Dengs keep records by tying knots and carving wood. Not long after liberation, however, they all move down the mountains and begin a new life in new villages.
17	苗族的工艺美术 17. The Miaos' Arts and Crafts (completed in 1980, 3 reels, 35mm, colour, 26', VHS and BETACAM-SP) This film presents colorful handicrafts such as cross-stitch work, embroideries, brocade, wax printed articles and silver clothes of the Miaos in Taijiang County, Guizhou Province. Their traditional silver trappings including bracelets, necklets, head-ornaments, breast-ornaments and clothes are carved with extreme delicacy. The history of their wax printed handicrafts dates from one thousand years ago. This film authentically records the Miaos' traditional handicrafts and their technological processes.
18	施洞苗族的龙船节 18. The Dragon Boat Festival of the Miaos in Shidong (completed in 1980, 3 reels, 35mm, colour, 26'36", VHS and BETACAM-SP) The Miaos in Shidong, Taijiang County, Guizhou Province, have a traditional Dragon Boat festival. The festival isheld in May every year. The major part is the dragon boat competition in which people rowing Dragon Boats compete for big prizes while people along the river cheer them up. Sacrificial rites are conducted besides horse riding, bullfighting and drum beating. The Dragon Boat festival comes from a moving story. This film also presents the grand scene of lusheng festival in Zhouxi.
19	畲族文化艺术节 19. Cultures and Arts Festival of the Shes (39'15", colour, shot with VO camera in 1990, completed in 1992, VHS and BETACAM-SP) Culture and arts festival of the Shes in Mindong, Fujian Province, is held in Ningde City, Fujian Province in November 1990. This is a gathering where traditional She culture and arts are exhibited. 22 art delegations of the Shes from Fujian, Zhejiang, Jiangxi, Guangdong and Anhui give special performances such as wedding dance, the hand bell dance and the dragonhead dance. She singers compete with each other. They hold exhibitions of She folk artefacts and academic meetings on She culture, and conduct other meaningful events.
20	畲族妇女的头饰、服饰 20. The Ancestral Temple in the Village of Dalin, Fu'an County (10'35", colour, shot with VO camera in 1990, completed in 1992, VHS and BETACAM-SP) A She Ancestral Temple stands in the Dalin Village, Banzhong Town, Fu'an County, Fujian Province. There are more than one thousand delicately carved ancestral tablets of different generations. Human figures, birds, flowers, dragons and phoenixes carved on both sides of the tablets. The dead person's name, position, dates of birth and death, ranking in family and the tablet maker's name are marked in the middle of the ancestral tablet. The ancestral tablets are valuable for the study of the She social organizations, genealogies, ancestor worship and traditional carving art.
21	福安县大林村祠堂 21. The Portraits of the Ancestors in Xiaping Village, Xiapu County (10'24", colour, shot with VO camera in 1990, completed in 1992, VHS and BETACAM-SP) Portraits of the She ancestors and some of their genealogies are enshrined in Xiaping Village, Chongru Town, Xiapu County, Fujian Province. The legends of Pan Gua are portrayed in about forty serial pictures called Zu Tu. Pan Gua, the wise, brave and magical national hero, who killed many enemies, is said to be the ancestor of the Shes. It reflects traces of primitive totemic worship. The portraits of the ancestors are shown only at the memorial ceremonies held for them and hidden from the public most of the time.
22	福鼎县三丘田村做道场 22. Taoist Rites Performed in the Sanqiutian Village, Fuding County (24'25", colour, shot with VO camera in 1990, completed in 1992, VHS and BETACAM-SP) This film pictures the Taoist practice in the Sanqiutian Village, Fuding County. There are some local Taoists of She and Han nationality who practice at home. The Taoists hold religious ceremonies by setting up altars, chanting magic incantations to avoid misfortune, to the accompaniment of music played on different kinds of musical instruments. This Taoist practice had a great impact on the mentality, culture and customs of the local Shes.
23	霞浦县霞坪村祖图 23. The Memorial Ceremony for the Ancestors and Taking the Master As the Teacher 48'46", colour, shot with VO camera in 1990, (completed in 1992, VHS and BETACAM-SP) In Shantou Village, Zhengkeng Town, Jingning She Autonomous County, Zhejiang Province, the Shes keep a custom of holding memorial ceremony for the founder of their sect. The ceremony is conducted by the Master who relates the legends of Pan Hu King who goes through difficulties in his learning experience. After that, the students apply for the documents and receive their religious names on a particular ceremony. They think that they can strengthen their ability to beat demons, avoid being insulted by others and obtain status in the clan through the memorial ceremony that is held for the ancestors and apprenticeship.
24	祭祖学师 24. She Women's Adornments for the Head and the Dress (23'53", colour, shot with VO camera in 1990, completed in 1992, VHS and BETACAM-SP) In Fuding, Xiapu, Shouning, Luoyuan and Lianjiang, Fujian Province and Ning County, Zhejiang Province, She women's traditional headdresses are extremely elegant and delicate. Phoenix coronets and phoenix costumes are most typical ornaments.
25	畲族的武术 25. The Shes' Whu Shu (18'30", colour, shot with VO camera in 1990, completed in 1992, VHS and BETACAM-SP) The Shes are accustomed to wushu. The 'She boxing' in the Jindouyang Village, Fu'an County, Fujian Province, have over ten series of skills and tricks. Face to face practice is performed with sticks, iron forks and other weapons. The attractive and defensive 'ba jing' wushu in Luoyuan County and the She gallant wushu in Yeshantou Village, Ning County, Zhejiang Province, also quite special.
26	26. The She Wedding in the Xin Village, Xiapu County (12'20", colour, shot with VO camera in 1990, completed in 1992, VHS and BETACAM-SP) This film records in Xin Village, Chongru Town, Xiapu County, She traditional weddings including the farewell-to-the-bride dinner party, the farewell-to-sisters dinner, bride's tearful wedding, the ceremony of doing obeisance to the forefathers, farewell held when the sedan-chair start to move, and the local way of passing sacks at the door of the bridegroom's family, etc.
27	连江畲族婚礼 27. The She Wedding in Nanshan Village, Lianjiang Town (15'8", colour, shot with VO camera in 1990, completed in 1992, VHS and BETACAM-SP) This film records the customs and process of She wedding in Nanshan Village, Pandu Town, Lianjiang County, Fujian Province. The bride wears a phoenix coronet and a wedding dress. She does obeisance to the heaven and the earth, gives her family best wishes by spreading rice and makes a tearful departure at last. After the bride comes to the bridegroom's home, the couple pay obeisance to their forefathers and deities. Some other wedding conventions are also included in this film.
28	黎族节日三月三 28. The Lis' March 3rd Festival (14'45", colour, shot with VO camera in 1988, completed in 1993, VHS and BETACAM-SP) The Lis in Hainan Province hold traditional March 3rd festival every year to commemorate their ancestors, and to celebrate and eulogize their new life. The main activities of the festival in cities are performed on the stage. Singing and dancing competitions are also held. In the countryside, young people compete to sing, shooting arrows and dancing with bamboo poles. Orchestras give performances, too. This film also introduces the legend about the origin of the festival.
29	黎族服饰 29. The Lis' Dress and Personal Adornments (4', colour, shot by VO camera in 1988, completed in 1993, VHS and BETACAM-SP) This film records the Li women's adornments with different features worn on the head and on the dress in the towns of Baoting, Lefang, Dongfang, Baisha, Qiongzhong in Hainan Province. There are different kinds of delicately embroidered and woven flowers on their clothes. They consider hair twisted into buns very beautiful and put silver hairpins in their buns. They wear both large and small earrings and silver rings on their feet.
30	黎族民间工艺 30. The Lis' Folk Craftsmanship (7'44", colour, shot with VO camera in 1988, completed in 1993, VHS and BETACAM-SP) This film records the traditional folk craftsmanship of spinning, embroidery, dying and crockery making of the Lis in Hainan. They made crockery in a very primitive way. The earthen bricks are burnt by straw in the open air. The film gives an introduction of the processes of making different kinds of handicraft articles. Those typical articles are also showed in it.
31	黎族妇女文身习俗 31. Li Women's Convention of Tattooing (2'30", colour, shot with VO camera in 1988, completed in 1993, VHS and BETACAM-SP) The Li women in Hainan traditionally practice tattooing. Tattoos of various patterns can be seen on the faces, necks, chests, abdomens, backs, arms and legs of the Li women from different areas in Hainan. After 1960s, only few women still keep this practice. The tattoos on elderly women's skins recorded in this film are valuable materials for the study of the tattooing tradition.
32	海南风光与旅游胜地 32. Scenery And Tourist Resorts in Hainan (28' , colour, shot with VO camera in 1988, completed in 1993, VHS and BETACAM-SP) This film records the natural views in Hainan such as ' the end of the sky and the corners of the sea' and the great east sea, the cultural resorts such as the memorial museum in Lingshui County and Hai Rui's mausoleum and the scenery of some cities and towns. Wild animals living in Hainan Island such as Da Tian Po deer and Nan Wan Ling macaques are also introduced in it.
33	大理白族的名胜古迹 33. The Famous Historic and Cultural Sites of the Bais in Dali (39'32", colour, shot with VO camera in 1990, completed in 1993, VHS and BETACAM-SP) This film shows the natural views and historic relics of the Bai area in Dali, Yunnan Province. We can see the Shi Bao Shan Rock Cave in Jianchuan, the three towers containing the bone relic of Buddha, the famous'Nan Zhao De Hua Stele'of the Tang Dynasty, Baiyang village, Hai Men Kou remains, unearthed artefacts such as copper coffins, and other places of great interest such as Iron Post Temple, Luo Cha Pavilion, Tian Sheng Bridge, Erhai Park and so on.
34	大理白族的建筑艺术 34. Bai Architecture in Dali (44'48", colour, shot with VO camera in 1990, completed in 1993, VHS and BETACAM-SP) The Bai architecture in Dali enjoys a long history with traditional characteristics. The typical popular houses are quadrangles. All the buildings are decorated with woodcarvings, painted clay and stone carvings. The castles, chambers and temples with beautiful carvings and colourful pictures built in different historical stages are extremely delicate.
35	大理白族的雕刻书画文献古籍 35. Carving, Painting, Calligraphy, Literature and Ancient Books of the Bais in Dali (17'22", colour, shot with VO camera in 1990, completed in 1993, VHS and BETACAM-SP) The Bais in Dali, Yunnan Province, possess a mass of valuable cultural remains after thousands of years of accumulation. This film shows a variety of tablet inscriptions, stone carvings, wooden figures of Buddha, paintings and calligraphy in the Bai language concerning the celebrities, literature, ancient books, family trees and modern frescos.
36	大理白族的工艺美术 36. Craftsmanship and Art of the Bais in Dali (17'22"colour, shot with VO camera in 1990, completed in 1993, VHS and BETACAM-SP) The Bais from different areas have their own dress and personal adornment with ethnic characteristics. Their special skills in dyeing, weaving straw hats, making feather pictures, embroidery, and producing marble articles and other various kinds of products, are also introduced in this film.
37	大理白族的饮食文化名优特产 37. Cooking Culture And Special Local Products of the Bais in Dali (36'28"colour, shot with VO camera in 1990, completed in 1993, VHS and BETACAM-SP) The Bais in Dali, Yunnan Province enjoy a traditional cooking culture full of local flavour. They love tea very much and drink tea made from baked tealeaves or a bowl-shaped compressed mass of tealeaves. The ' three-course-tea ' is very popular. They are good at making pickled hams, fish, snails, plums, etc. The ' raw skin ', which has a distinctive flavour, is their favourite food. They make this kind of food by roasting raw pork half-done, then cutting the meat into pieces, and finally add some ginger, green Chinese onions, vinegar and peppers. He Qing hams, Xizhou cake, Erhai plums, marmite fish and milk shells are famous local food. This film also gives an introduction to the local products.
38	大理白族的节庆活动三月街 38. ' March Street '- the Festival Celebration of the Bais in Dali (27'11"colour, shot with VO camera in 1990, completed in 1993, VHS and BETACAM-SP) Each year, in mid-March according to the traditional Chinese calendar, the Bais in Dali hold the celebration of the March Street Festival. This old activity that first appeared in Tang Dynasty has a history of more than one thousand years. The activities during the festival mainly include the trading of big cattle, herbs, special local products and daily necessities. During the festival, performers from different counties give wonderful performances in the street, staging Bai operas and playing music in the open. Riders of different nationalities will enter the horse race. This film shows the ethnic carnival full of enthusiasm.
39	石宝山歌会 39. The Shibaoshan Song-Gathering (12'44"colour, shot with VO camera, completed in 1993, VHS and BETACAM-SP) Each fall, a grand Song-Gathering takes place in Shibaoshan area, Dali Prefecture, Yunnan Province. Thousands of young people from around the six counties will sing in an antiphonal style. They sing in praise of happy life and express their yearning for fragrant love in a lively atmosphere.
40	大理白族的本主崇拜 40. Benzhu Worship of the Bais in Dali. (39'43"colour, shot with VO camera in 1990, completed in 1993, VHS and BETACAM-SP) The Bais in Dali, Yunnan Province, worship the Benzhu Gods. ' Benzhu ' means ' the highest regional guardian angel '. The Benzhu Gods included: gods of nature such as the heavens, the earth, the sun, the moon, lakes and trees; popular gods such as ancestors, heroes and women who are courageous to protect their virtue; noble gods such as emperors and marshals in the ancient times. The Benzhu Gods of different identities had their own legends and temples. The Bais chant scriptures, offer sacrifices, welcome and send off the Benzhu Gods and watch acrobatics, singing and dancing.
20	大理白族的丧葬 20. Funerals of the Bais in Dali (24'40"colour, shot with VO camera in 1990, completed in 1993, VHS and BETACAM-SP) The Bais who live in villages and towns in Dali of Yunnan Province hold traditional funerals. During the funeral procession, they build a mourning hall, hold memorial ceremonies for the dead, entertain guests with a banquet, carry the coffin to the burial yard and, after the burial, ask Taoist priests to expiate the sins of the dead. Then, the memorial ceremony would be held yearly.
42	轮回与圆圈－－藏传佛教文化现象研究 42.Samsara And Circles (30'colour, shot with VO camera1993, VHS and BETACAM-SP) The concept of samsara is an important component part of the Tibetan Buddhist ideology. We can see in the Tibetan ethnic cultural life everywhere the prints that express samsara concept: There are pictures of samsara circle in any monastery; there are round buildings in monasteries and shrines; we can find circles on ancient steles, and see round Buddhist pagodas and dagopas; during the festivals, such as the Daraba Festival and the skor-dancing Festival, the song-and-dance circles can be observed here and there; we can also see the circle of six-character true sutra, the circle of the Buddhist cross as a symbol of samsara; and circles of various Buddhist utensils and circles. Among all of the above-mentioned circles, the utensil circle is the most typical and significant. The various revolving sutra-wheels differ in size from big, medium, to small. The way to revolve it is also differs. Here we have the ring-drawing mode, the mode of revolving by hand, the mode of revolving with the wheel's axle in hand, the mode in which a lantern with sutra revolves when it is lit, and mode of revolving by the wind, water, or electricity dynamics. The revolving circles embody the typical samsara thinking of Tibetan Buddhism. This film also puts us in the picture of the historical origin of sutra revolving activities, and the relation between the samsara concept and the system of reincarnate Living Buddha.
43	藏族水磨的功能和结构 43. The Functioning And Structure of the Water Mill of the Tibetan Ethnic Group (13'colour shot with VO camera in 1993, VHS and BETACAM-SP) Gullies and ravines crisscross Ganzi area of the Sichuan Province. The area is rich in water resources and the traditional water mills used by the local Tibetan people have a long history. Tradition has it that princess Wen Cheng of the Tang Dynasty brought with her the technique of making water mills when she came to Tibet. Water mills of this kind made by the ancient Tibetan people are semi-automatic. They use natural water resources as power source in processing grain. This film unfolds the structure, functions and features of water mills of this kind.
44	藏族的雕版印刷术 44. The Tibetan Art of Block Printing (16', colour, shot with VO camera in 1993; VHS and BETACAM-SP) Block printing, the most ancient printing technique, is still completely kept and applied in the Dege Buddhist Sutra Printing House that is located in the Dege County in the western part of Ganzi Tibetan Ethnic Autonomous Prefecture of Sichuan Province. There are about 100 printers including monks and laymen in the printing house; they are paid by the State. The Tibetan Buddhist Sutras printed there supply not only the monasteries in the Tibetan ethnic areas, but also sold to Bhutan, Sikkim, Nepal, and Japan. The Tibetan Buddhist sutra flags and streamers completed in the printing house are prepared for the local Buddhists, who use these flags and streamers in their pilgrimage or in the funeral ceremony. The film records the whole process of such printing, and tells the reason why the local block printing has not declined in the long history.
45	藏族的雕版印刷术 45. Indigenous Methods of Panning (10', colour, shot with VO camera in 1993, completed in 1994, VHS and BETACAM-SP) In Wadao Village, Luhuo County, Sichuan Province, a small group of Tibetan farmers wash gold as an avocation. They work by indigenous, old methods. This film also gives a brief introduction about the Tibetans' panning history.
46	康南"伸臂桥" 46. The Semi-girder Bridges in Kangnan (15', colour, shot with VO camera in 1993, completed in 1994, VHS and BETACAM-SP) The semi-girder bridges are a special type of construction in the southern Tibetan area, Sichuan Province. The history of the bridges there dates back to over one thousand years ago. With round logs of which they are made all stretching to the middle of the river, appearing like extending arms. The semi-girder bridges built by traditional local methods are very popular in Kangnan, adapting to the local physical features and plentiful wood resources. They are still being used today.
47	康区藏族农民生活一瞥 47. Life of the Tibetan Farmers in Kang Area (24', colour, shot with VO camera in 1993, completed in 1994, VHS and BETACAM-SP) This film records a slice of the daily life of several ordinary Tibetan farmer-families in Luhuo County and Batang County, Sichuan Province. The farmers lead a peaceful life. They help the children get up in the morning, boil buttered tea, make yoghurt, prepared cow dung cake-shaped for fuel, herd cattle, farm in the field, and twist wool into thread.
48	康区藏族牧民生活一日 48. One Day's Life of the Tibetan Nomads in Kang Area (13', colour, shot with VO camera in 1993, completed in 1994, VHS and BETACAM-SP) This film records a day of a nomadic family life in Xiaxiong Town, Ganzi County, Sichuan Province. Early in the morning, shepherd boys drive cows to the hill to graze. Women pick cow dung, carry water from the stream, make offerings to the god and prepare tea. Male workers are asked to twist cow hair ropes. The whole family drink tea together at noon. The sheep and cattle come back up from the hill in the evening.
49	更庆寺的时轮金刚法会 49. The Buddhist Ceremony of Buddha's Warrior Attendants in Geng Qing Temple (14', colour, shot with VO camera in 1993, VHS and BETACAM-SP) In the north of the Gede Printing House for Buddhist Scripture in Gede County, Sichuan Province, stands the great, magnificent Ge Qing Temple. This temple is built in the Ming Dynasty and is a religious site for Tibetans from the city of Gede and its surrounding districts. Every year, on March 10th in the Tibetan calendar (May in the solar calendar), Tibetans hold the Buddhist ceremony of Buddha's warrior attendants there. There are activities such as chanting scripture, making offerings to Buddha and dancing during the ceremony.
50	康定天主教徒的宗教活动 50. Catholic Practices in Kangding (11', colour, shot with VO camera in 1993, VHS and BETACAM-SP) In the mid-19th century, the French missionaries started their work in Kangding area, Sichuan Province. This film records religious practices on a Sunday at Kangding Church, which include delivering sermons, chanting, and going to Holy Communion. Most of the Catholics are Hans, but there are also Tibetans and people of other nationalities. The history and development of Catholicism in Kangding is also introduced in the film.
51	哈萨克族的游牧经济 51. The Nomadic Economy of the Kasakhs (56', colour, shot with VO camera in 1993, completed in 1995, VHS and BETACAM-SP) This film records the economic life, the traditional culture and conventions of the nomads living in Yili area, North Xinjiang, and also shows the prosperity of local commerce after reform and opening-up.
52	哈萨克地区风光与名胜古迹 52. The Scenery And the Famous Historic and Cultural Sites in Kasak Areas (20', colour, shot with VO camera in 1993, completed in 1995, VHS and BETACAM-SP) This film shows the splendid view of the famous Mt. Tenger, Mt. Altai, Yili River, Devil City, the Remains of the Ancient City of Xiata, the Remains of the Marshal's official residence, ancient cliff paintings, stone figures of human and other natural sight and cultural sites.
53	哈萨克族的物质文化 53. Material Culture of the Kazakhs (10', colour, shot with VO camera in 1993, completed in 1995, VHS and BETACAM-SP) This film records the traditional Kazakh clothing, food, housing and transportation -- basic necessities of life: the yurt and its inside furnishings, flattop houses constructed of stones and wood, dress and personal adornment of men and women, the making process of milk food and crusty pancakes, the means of transportation such as horses, cattle, camels and wooden-wheeled carts. The ritual tradition of the nomads are also introduced in the film.
54	哈萨克族的节庆与娱乐活动 54. Kazakhs' Festivals and Entertainments (32', colour, shot in 1993, Completed in 1995) The Kasakhs' festivals are closely related to religion. They are Corban Festival, Idal-firt Festival and the most traditional Spring Festival. During the festivals, they conduct typical nomadic activities including praying ceremonies, horse races, wrestling matches, etc.
55	哈萨克族的音乐舞蹈与艺术 55. Kazakh Music, Dances, Arts and Crafts 18', colour, shot with VO camera in 1993, completed in 1995, VHS and BETACAM-SP) This film introduces typical Kazakh music, dances, arts and crafts which include folk songs, folk singers' song-gatherings, solo dancing, group dancing, embroidery, and carvings.
56	哈萨克族的婚姻 56. The Kazakh Marriage (27', colour, shot with VO camera in 1993, completed in 1995, VHS and BETACAM-SP) The Kazakhs practice monogamy and exogamy. The parents arrange marriage in the past, and now the young people are free to choose their spouses and always remain devoted couples all their life. This film records three weddings in Tuoli County's suburb and pastoral areas, which includes bride's farewell to her family, bridegroom's going to the bride's home and escorting her back to the wedding, taking off the bride's veil
57	哈萨克族的丧葬习俗 57. The Kazakh Traditional Funeral (27', colour, shot with VO camera in 1993, completed in 1995, VHS and BETACAM-SP) Kazakhs' traditional funerals are closely related to their religious belief. Their funerals are held mainly according to Islamic canons. Before the coffin is carried to the cemetery, relatives of the dead will hold a memorial ceremony, singing the elegy and asking the mullah to expiate the sins of the dead. During the burial, a ceremony is held to place body in the coffin pit. In the alpine pasture, people build tower-shaped fence of spruce around the tomb and hold the forty-day memorial ceremony. A memorial ceremony is held every year.
58	哈萨克族的宗教信仰 58. The Kazakhs' Religious Belief (8', colour, shot with VO camera in 1993, completed in 1995; VHS and BETACAM-SP) This film records religious belief and practice of the Kazakhs in Wusu County, Xinjiang. The Kazakh believers in Islam went to Wusu County Mosque and Yiningbaitula Mosque on time to listen the mullahs expound the texts of Islam. The film also shows ancestor worship and nature worship that still existed among the Kazakhs.
59	哈萨克族的文化教育 59. The Kasakhs' Cultural Education (15', film, shot with VO camera in 1993, completed in 1995, VHS and BETACAM-SP) This film records the development of cultural education in the Xinjiang areas of Ili, Tacheng, Altai, Ili Kasak Autonomous Prefecture. It introduces the essential education system which involves various kinds of schools such as central elementary schools, boarding schools in pastoral areas, and so on. It also gives an introduction to senior schools for professional training, such as agricultural schools, schools for agricultural mechanics, veterinary schools and normal schools that have been established during the 1980s to accelerate local economic development.
60	秋牧－－新巴尔虎蒙古族游牧生活纪实 60. Herding in the Fall--Nomadic life of the Mongols in Xin Barag Left Banner (48', colour, shot with VO camera in 1995, completed in 1996, English and Chinese Editions, VHS and BETACAM-SP) In the fall of 1995, the filming screw went deep into Xin Barag Left Banner in Hulun Buir Prairie, Inner Mongolia, to record and follow up the autumn pastoral life of two Mongolian nomadic families. Driving ox carts and tractors loaded with tents and living necessities, the nomads with their herds gradually migrated to the pastoral land for winter where water and grass are available. On arrival at the winter camp, they began to pitch tents, count the cattle, treat the sick and wounded sheep, cut grass for winter forage, and so on. The daily life and kindred love are depicted vividly in the film. It also reflects the relationship between the Mongols after reform and opening up to the outside world. The filming screw adopts a new approach of participating observation, which makes it possible to record all actual events and not a detail is escaped.
61	61. The Autumn Ceremony of Scripture Chanting and Exorcising at Yanshoubaoming Temple (Colour, shot with VO camera in 1997, VHS and BETACAM-SP) There is a Tibetan Buddhist temple named Yanshoubaoming Temple outside Amugulang Town, Xin Barag Left Banner, Hulun Buir League, Inner Mongolia Autonomous Region. Each autumn, a ceremony of scripture chanting and exorcising would be held there to get rid of ominous things in the prairie and pray for men and livestock and a forthcoming good harvest. This film briefly records the process of the ceremony.
62	《牧歌》探源 62. Exploring the Origin of the ' Pastoral Song ' (Colour, shot with VO camera in 1995, completed in 1998, VHS and BETACAM-SP) The beautiful, melodious ' Pastoral Song ' is popular and has been there for so many years. People, however, rarely know its origin and the story thereof. All by chance the filming screw found the place where the song originated and interviewed the original writer's daughter and some old local people who know the story of the song. A sad, moving story comes to be known at last.
63	《隆务河畔的鼓声》 1996-1997年拍摄，2000年制作完成。BETACAM－SP摄像机拍摄，片长66 分钟，VHS和BETACAM－SP。人类学编导、撰稿：陈景源；影视编导、摄像、编辑制作：庞涛；策划：张江华；民俗顾问：卡尔泽杰；藏语翻译卡尔泽杰、诺布旺丹、东主、扎洛；英文翻译：张小敏；制片：任一飞。中国社会科学院民族研究所摄制。居住在青海省同仁县隆务河沿岸的藏族，既信仰藏传佛教，同时还保持着多神崇拜。这里家有家神，村有村神，神与佛一样受到人们的膜拜和供奉。每年农历六月举行的一年中最隆重的祭神盛会"六月会"上，法师作法请神附体，村民身着节日盛装，在法师带领下敲响龙鼓，在法师带领下煨桑祭神，跳起悦神、感谢神灵护佑、喜迎丰收、追求间美满幸福的舞蹈。
64	新疆维吾尔族传统手工--喀什土陶 2000年拍摄，2001年完成制作。AGEZ1数字机拍摄，片长33分钟，VHS和BETACAM－SP。学术指导：张江华，摄像：张辉、张小敏，编辑制作：邓卫荣，解说词：张江华邓卫荣，维吾尔语翻译：阿西木、亚森、努尔，英文翻译：张小敏，解说、制片：陈景源；监制：任一飞。中国社会科学院民族研究所摄制。在新疆，流传着"不到喀什就不算到新疆"的说法。维吾尔族风情浓郁的喀什，其传统手工业产品花帽、铜器、乐器、地毯依然吸引着许多来自国内外的顾客，而土陶却只有在"土陶一条街"才有本地人去购买。该片朴素、真实地记录了行将消失的土陶制作的全过程：制坯、上釉、烧窑、出窑等。我们采访了土陶工匠以及市场销售人，从他们的叙述中，观众能对土陶生产在喀什的历史变迁和发展有自己的判断和思索。
65	新疆维吾尔族传统手工业--喀什铁器 2000年拍摄，2001年完成制作。AGEZ1数字机拍摄，片长18分钟，学术指导：张江华，摄像：张辉，编辑制作：邓卫荣，解说词：邓卫荣，维吾尔语翻译：阿西木、亚森、努尔，英文翻译：张小敏，解说、制片：陈景源；监制：任一飞。中国社会科学院民族研究所摄制。在新疆喀什阿热亚路的中段，有一条"铁器一条街"。因为这里打制和销售得最多的是一种叫"砍土曼"的铁锄，而在维吾尔语里把"市场"叫做"巴扎"，所以传统上这里一直叫"砍土曼巴扎"。"铁器一条街"约有25家铁器作坊，基本上是前店后作坊。本片记录了维吾尔族工匠米几提和他的工友们生产铁器的过程和他们的所思所想。同时记录了这条街上传统的钉马掌工匠的劳动情况。虽然喀什的现代化正冲击着一些传统手工业的存在，但社会的需求决定了各类铁器手工生产还不会很快消失。
66	仲巴昂仁 2000年拍摄，2002年完成制作。BETACAM－SP摄像机拍摄，片长51分钟。编导：陈景源、庞涛；摄像、编辑制作：庞涛；撰稿、解说：陈景源；藏语翻译：公保才旦、卡尔泽杰、东主、扎洛；英文翻译：邓卫荣；监制：揣振宇；制片：张江华。中国社会科学院民族研究所摄制昂仁是青海果洛藏族自治州一位说唱格萨尔史诗的民间艺人，他一辈子说唱格萨尔，已有50多年了，在藏族地区享有较高的声望。本片探寻了昂仁与史诗的不解之缘和他的传奇经历，纪录了草原牧民对史诗的真诚热爱与史诗深深扎根于民间的事实，展示了格萨尔史诗对藏区人民所特有的精神文化功能。昂仁的身世、藏民的日常生活、祭祀神山的宗教仪式… … 将处处体现传唱千年的格萨尔英雄史诗独特的民间文化底蕴。
67	年都乎的岁末 2001-2002年拍摄，2002年制作完成。BETACAM－SP摄像机拍摄，片长51分钟。编导：陈景源、张辉；摄像、编辑制作：张辉；撰稿、解说：陈景源；翻译英文翻译：张小敏。监制：揣振宇。年都乎村是青海省黄南藏族自治州同仁县一个土族聚居的村落。每到年底，全村都要举行一系列的宗教活动，主要包括娱乐神灵的"邦"、红教驱鬼和极具特色的"於菟"仪式。本片以人类学的视角纪录了这三个活动。
68	喀什牲口巴扎的萨拉及 2000年拍摄，2002年制作完成。AGEZ1,佳能Xm1数字机拍摄，片长25分钟，学术指导：张江华，摄像：张辉，张小敏；编辑制作：张小敏；解说词：张小敏，维吾尔语翻译：努尔，买买提，杜山那里；英文翻译：张小敏，解说、制片：陈景源；监制：任一飞。中国社会科学院民族研究所摄制。盛夏八月，是南疆喀什牲口巴扎买卖最红火最热闹的时候。70多岁的卡德尔老人在巴扎上周旋着、忙碌着。他是一个萨拉及（维吾尔语中间人的意思），他作萨拉及30多年了。本片纪录了南疆喀什牲口巴扎鲜活的交易场景，展现了这位老萨拉及的职业风采，使人们对中间人这个传统职业有了直观的了解。

Film catalogue （1957-2002）

Film catalogue

（1957-2002）