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当代影视创作中出现了一股声势浩大的纪实倾向,它表现在被吕新雨命名的“新纪录运动”纪录片创作中;在一些“纪实”性电影故事片;更多的体现在许多电视台制作的大量“纪实”类电视节目中。这些作品体裁样式、表现形式、手法、内在规律各个不同。但是它们却共有一种“纪实”观念:那就是对过于明显建立在观念上的主观真实的否定,希望去除人的主观介入;对原生态生活本身的强调和重视,力求忠实表现原生生活本来的状态和流程;并在技术上充分利用摄影机(摄像机)记录客观现实的能力和一些具体的纪实手法试图达到一种对原态生活的“纯记录”;实现对“真实”的承诺。但是如果我们深入分析这种纪实倾向就可以发现,它实际上是在宣称其具有一种不可能获得的特质,以期获得一种普遍的叙述合法性,这反映了一种普遍的后现代文化的怀疑倾向。在这个分析的基础上,我们就可以瓦解“真实”和普遍合法性的迷雾,不但在影视具体的制作手法上,而且在“真实”和“纪实”观念认识上获得了解放,进入了一个更加开放的认知领域。
In the contemporary film and television creation, there is a massive documentary tendency which is manifested in the documentary creation of the “New Documentary Movement” named by Lv Xinyu; in some documentaries of “documentary” feature films; more reflected in the large number of “ Documentary ”category of television programs. These works genre style, manifestations, practices, internal laws are different. However, they all share the concept of “documentary”: that is, they negate the subjective reality that is obviously obviously based on ideas, and that they want to remove the subjective intervention of people; emphasize and attach importance to the original ecological life itself and strive to faithfully represent the true nature of the original life Status and flow of technology; and make full use of the ability of cameras (video cameras) to record objective reality and some specific documentary techniques to try to reach a “pure record” of the original life; and to fulfill the promise of “truthfulness”. But if we analyze this documentary tendency in depth, we can see that it is in fact claiming that it possesses an impossibility to acquire in order to gain a general legitimacy of narrative, which reflects a universal postmodernist Skepticism. Based on this analysis, we can dispel the fog of “truth” and universality of legitimacy, not only in the specific production techniques of video and television, but also in the realization of the concepts of “truth” and “documentary reality”, entering a more Open areas of cognition.