本文選題：小川紳介　切入點(diǎn)：中國(guó)獨(dú)立紀(jì)錄片　出處：《安徽大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：紀(jì)錄片在中國(guó)的文化視野里,長(zhǎng)期徘徊在國(guó)家話語(yǔ)與民間話語(yǔ)的雙行線上。前者構(gòu)成了一種宏大的歷史敘事,成為官方正史的影像注腳;后者則源于個(gè)體意志,尋求一種有別于主流意識(shí)形態(tài)、真實(shí)而自覺的記憶形式。對(duì)于任何一個(gè)關(guān)注中國(guó)社會(huì)和文化變遷的人來(lái)說(shuō),20世紀(jì)90年代以來(lái)的獨(dú)立紀(jì)錄片創(chuàng)作都是不可或缺的存在。小川紳介作為中國(guó)獨(dú)立紀(jì)錄片的啟蒙者,其紀(jì)錄精神影響了一代中國(guó)人。同時(shí),他創(chuàng)辦的山形國(guó)際紀(jì)錄片電影節(jié)也成為中國(guó)獨(dú)立紀(jì)錄片在世界亮相的"大本營(yíng)"。但正如八十年代本雅明是以一種精神形象而非學(xué)理觀念被引入一樣,小川紳介進(jìn)入中國(guó)人視野的時(shí)候,更多被強(qiáng)調(diào)的是一種"紀(jì)錄精神"。因此,學(xué)術(shù)界關(guān)于小川紳介紀(jì)錄精神著墨頗多,但對(duì)其作品的闡述卻鮮有。這提醒筆者,關(guān)注一代紀(jì)錄片大師的方式必須落在其作品上,任何口號(hào)式的宣傳都可能造成"理想主義的困惑"。本論題正試圖以歷史為線索,以作品為切入,透析小川紳介紀(jì)錄精神與中國(guó)獨(dú)立紀(jì)錄片創(chuàng)作背后共通的理念價(jià)值。本文的研究主要包括以下幾個(gè)方面:首先,通過對(duì)小川紳介紀(jì)錄片發(fā)展脈絡(luò)的梳理,厘清其思想軌跡的演變,明確紀(jì)錄精神表達(dá)的真正內(nèi)涵。在此基礎(chǔ)上,考察小川紳介紀(jì)錄精神在中國(guó)不同紀(jì)錄片創(chuàng)作者身上的體現(xiàn),對(duì)此進(jìn)行具體而深入的分析。其次,筆者將著重從中日雙方"紀(jì)錄片的時(shí)代背景"、"空間上的地緣關(guān)系"以及"觀念上的文化認(rèn)同"三方面闡述小川紳介及其紀(jì)錄精神能夠順利被中國(guó)獨(dú)立紀(jì)錄片創(chuàng)作者所接受的原因。最后,立足于當(dāng)下,發(fā)現(xiàn)小川紳介的同行者及后繼者與中國(guó)獨(dú)立紀(jì)錄片的關(guān)系,從另一視角回應(yīng)本論的核心命題"小川紳介與中國(guó)獨(dú)立紀(jì)錄片的必然相遇"。通過以上問題的展開與討論,以期為"小川紳介對(duì)中國(guó)獨(dú)立紀(jì)錄片的影響"勾勒一個(gè)清晰的輪廓,為中國(guó)獨(dú)立紀(jì)錄片研究提供一個(gè)相對(duì)獨(dú)特的視角。影像承載著意義,紀(jì)錄片作為一種影像建構(gòu)的歷史敘事話語(yǔ),它的角色塑造受到敘述者及其背后相關(guān)主體社會(huì)身份的制約和影響,同時(shí)也塑造了他們的社會(huì)身份和歷史地位。小川紳介一生參與社會(huì)運(yùn)動(dòng)、追求描寫心靈,他用18部作品完成了他與世界的互動(dòng)。中國(guó)獨(dú)立紀(jì)錄片興起于90年代的斷裂與新生,而今正在廣袤的現(xiàn)實(shí)土壤中跌跌撞撞前行。筆者認(rèn)為,小川紳介與中國(guó)獨(dú)立紀(jì)錄片之所以能跨過語(yǔ)言的障礙如此契合,是因?yàn)槲覀兎窒碇粋�(gè)共同的理想和精神目標(biāo)。研究小川紳介與中國(guó)獨(dú)立紀(jì)錄片的相遇,有助于我們透過紛繁復(fù)雜的表象來(lái)把握中國(guó)獨(dú)立紀(jì)錄片的深層內(nèi)涵,更好的推動(dòng)中國(guó)獨(dú)立紀(jì)錄片在眾聲喧嘩的影像中,留存一個(gè)時(shí)代的記憶。
[Abstract]:The documentary film has been hovering in the Chinese cultural field of vision for a long time. The former constitutes a grand historical narrative and becomes the image footnote of the official history, while the latter comes from the individual's will. Looking for a different ideology from the mainstream, True and conscious forms of memory. For anyone concerned with the changes in Chinese society and culture, the creation of independent documentaries since 90s is an indispensable existence. Its record spirit has affected a generation of Chinese. At the same time, The Mountain International documentary Film Festival, which he founded, has also become a "base" for Chinese independent documentaries appearing in the world. But just as in 80s Benjamin was introduced as a spiritual image rather than a theoretical concept. When Sasuke Ogawa entered the Chinese perspective, he was more emphasized as a kind of "record spirit." therefore, the academic circles have a lot of ideas about the record spirit of Saesuke Ogawa, but there are few explanations of his works. This reminds the author. The way to focus on a generation of master documentaries must fall on their work, and any slogan propaganda can cause "idealistic confusion." this thesis is trying to take history as a clue and a work as a starting point. This article mainly includes the following aspects: first of all, through combing the development context of the Saehara documentary, the author analyzes the common values of the spirit of Saeto record and the creation of Chinese independent documentaries. Clarify the evolution of his thought track, clarify the true connotation of the expression of the record spirit. On this basis, investigate the embodiment of the record spirit in different documentary creators in China, and make a concrete and in-depth analysis of it. Secondly, The author will focus on the three aspects of "the background of the documentary", "the geographical relationship in space" and "the cultural identity of the concept" between China and Japan. The author will expound that Saisuke Ogawa and his record spirit can be successfully created by China's independent documentary. The reason for acceptance. Finally, Based on the present, we discover the relationship between Saesuke's peers and successors and independent documentary films in China. From another angle of view to respond to the core proposition of this theory, "the inevitable encounter between Sasuke Ogawa and China's Independent documentary". Through the development and discussion of the above questions, the author hopes to outline a clear outline of "the influence of Shimadsuke on the independent documentary in China". It provides a relatively unique angle of view for the study of Chinese independent documentaries. Its role shaping is restricted and influenced by the narrator and its related subject social identity, at the same time, it also shapes their social identity and historical status. He completed his interaction with the world with 18 works. China's independent documentary, which began in 90s, was broken and reborn, and now stumbles along in the vast real world. The reason why Sasuke Ogawa and Chinese independent documentaries can cross the language barrier is that we share a common ideal and spiritual goal. It is helpful for us to grasp the deep connotation of the Chinese independent documentary through the complicated appearance, and to better promote the Chinese independent documentary to retain the memory of an era in the noisy image.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J952

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