本文關(guān)鍵詞： 獨(dú)立紀(jì)錄片 創(chuàng)作 批評(píng) 接受美學(xué)　出處：《安徽大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：紀(jì)錄片,作為最具魅力的藝術(shù)樣式,我們得以從中剖析現(xiàn)實(shí)、認(rèn)識(shí)世界。本文的研究對(duì)象是獨(dú)立紀(jì)錄片,它是上世紀(jì)80年代末90年代初的社會(huì)變革與轉(zhuǎn)型的產(chǎn)物,一直以一種入世的態(tài)度同社會(huì)保持著密切的聯(lián)系,發(fā)出不同于官方意識(shí)形態(tài)的個(gè)性化聲音。它用理性和批評(píng)表征人文關(guān)懷,直面社會(huì)現(xiàn)實(shí)的每一個(gè)角落,自下而上地表達(dá)了普通階層民眾的生存訴求及情感方式,成為中國(guó)紀(jì)錄片版圖上不可或缺的一部分。 中國(guó)獨(dú)立影像年度展(CIFF)是中國(guó)獨(dú)立影像迷的盛會(huì),它誕生于2003年,是綜合性獨(dú)立影像活動(dòng)。CIFF以其選片和評(píng)獎(jiǎng)的權(quán)威性,在國(guó)內(nèi)外的專業(yè)領(lǐng)域內(nèi)產(chǎn)生了重要影響。但就在2011年的第八屆中國(guó)獨(dú)立影像年度展的最后一天,南京大學(xué)新聞傳播學(xué)院舉辦的《政治、倫理與美學(xué)：中國(guó)獨(dú)立紀(jì)錄片之路》的論壇引發(fā)了一場(chǎng)關(guān)于獨(dú)立紀(jì)錄片創(chuàng)作與批評(píng)關(guān)系的規(guī)�；接�。一些紀(jì)錄片導(dǎo)演在南京大學(xué)的墻壁上貼出名為“薩滿動(dòng)物”的標(biāo)語(yǔ),即“南京宣言”,用以直接表達(dá)對(duì)批評(píng)界的不滿。這就引發(fā)了本論文的核心問題：中國(guó)獨(dú)立紀(jì)錄片創(chuàng)作與批評(píng)處于什么樣的關(guān)系?對(duì)此,筆者以“南京宣言”事件為切入點(diǎn),通過詳細(xì)的資料分析,還原南京論壇現(xiàn)場(chǎng)引發(fā)的創(chuàng)作與批評(píng)爭(zhēng)議的幾個(gè)核心問題,并通過對(duì)紀(jì)錄片導(dǎo)演毛晨雨的訪談,筆者大膽提出猜想：獨(dú)立紀(jì)錄片創(chuàng)作與批評(píng)二者之間是“沉默的對(duì)話”。這里的“沉默的對(duì)話”的含義主要是指二者的關(guān)系是疏離的,長(zhǎng)時(shí)間在各自的領(lǐng)域中自說自話,沒有形成一個(gè)平衡的對(duì)話機(jī)制。 南京論壇的現(xiàn)場(chǎng)就像是創(chuàng)作與批評(píng)的博弈場(chǎng),相關(guān)的探討從文學(xué)到電影,歷來有之,從未間斷。那么在獨(dú)立紀(jì)錄片領(lǐng)域又會(huì)呈現(xiàn)出什么新的特征?這種批評(píng)與創(chuàng)作關(guān)系的博弈是偶然還是必然?這需要縱向梳理整個(gè)獨(dú)立紀(jì)錄片發(fā)展歷程,明晰獨(dú)立紀(jì)錄片創(chuàng)作與批評(píng)各自的形態(tài)特征。 早期的獨(dú)立紀(jì)錄片處境是艱難的,盡管在國(guó)外頻頻獲獎(jiǎng),但在國(guó)內(nèi)幾乎沒有有效的傳播方式,基本處于“地下”狀態(tài),到90年代末,這一困境得到了有效改觀,而DV的出現(xiàn),更是促使了獨(dú)立紀(jì)錄片走向蓬勃與多元。如今,經(jīng)過20多年的發(fā)展,獨(dú)立紀(jì)錄片已經(jīng)初具規(guī)模,近幾年獨(dú)立紀(jì)錄片題材日漸豐富,敘事方式不斷成熟,無論是數(shù)量還是質(zhì)量都有顯著的提升。而獨(dú)立紀(jì)錄片批評(píng)界則以學(xué)院式理論批評(píng)為主體,以倫理道德批評(píng)、社會(huì)現(xiàn)實(shí)批評(píng)為主要批評(píng)模式,力圖建立自身獨(dú)立話語(yǔ)來反思當(dāng)下紀(jì)錄片創(chuàng)作情況。但獨(dú)立紀(jì)錄片的“地下性”直接導(dǎo)致其在傳播與流通上一度處于隱秘狀態(tài),基本脫離了大眾傳播的軌道,批評(píng)界對(duì)這一另類影像的關(guān)注不具有普遍性,而僅有的獨(dú)立影像批評(píng)卻又在自我身份書寫與西方理論闡釋中充滿著矛盾與不安。從創(chuàng)作與批評(píng)自身特點(diǎn)來看,二者的疏離實(shí)是必然,是源于各自發(fā)展路徑中的某些硬傷以及二者之間的不平衡的對(duì)話機(jī)制。 如何改善創(chuàng)作與批評(píng)兩者之間的關(guān)系,如何幫助兩者走向“破冰之路”,除了創(chuàng)作與批評(píng)雙方各自的努力之外,本文則試圖提出一種新的視角,借用“接受美學(xué)”理論,以強(qiáng)調(diào)受眾的主體性地位來試圖對(duì)獨(dú)立紀(jì)錄片創(chuàng)作與批評(píng)“兩張皮”的局面進(jìn)行反思。作為獨(dú)立紀(jì)錄片傳播結(jié)構(gòu)網(wǎng)中的重要因素,受眾的主體性地位卻被長(zhǎng)久地忽略掉了。在獨(dú)立紀(jì)錄片中,受眾的期待視野可以對(duì)影像進(jìn)行建構(gòu),其空白的想象可以對(duì)影像進(jìn)行潤(rùn)色,創(chuàng)作者與受眾是存在某種供需關(guān)系的,而批評(píng)界也可以嘗試與受眾形成某種無等差的對(duì)話而幫助確立自身話語(yǔ)。受眾視角的重拾并不意味著可以一勞永逸地解決創(chuàng)作與批評(píng)的矛盾與爭(zhēng)議,但這另一維度的思考能夠幫助創(chuàng)作與批評(píng)反省自身,從而為創(chuàng)作與批評(píng)的有效對(duì)話提供中介與渠道,緩解二者之間的緊張情緒,為二者從“沉默”走向“對(duì)話”提供某種可能。
[Abstract]:The documentary, as one of the most attractive art style, we can analyze the reality, from the understanding of the world. The research object of this paper is the independent documentary, it is a product of the end of 80s and early 90s social change and transformation of the last century, has been a WTO attitude with the community to maintain close contact with a different personalized voice in the official ideology. It rational criticism and characterization of humanistic care, to every corner of the social reality, bottom-up expression existenceclaim and emotional way of ordinary class people, become an indispensable part of China documentary version on the map.
The annual Chinese Independent Film Festival (CIFF) is Chinese many independent film festival, it was born in 2003, is an independent comprehensive image.CIFF activities in its authority and selection of the award, the professional field at home and abroad has the important influence. But in 2011 the eighth session of the China Independent Film Festival. At the end of the day, held at Nanjing University School of Journalism and communication: politics, ethics and aesthetics Chinese independent documentary road > forum sparked a discussion about the relations between the independent documentary creation and criticism. Some large-scale documentary director at the Nanjing University on the walls of the famous "Shaman animal" slogan, namely "Nanjing Declaration" on the criticism, to dissatisfaction with the direct expression. This raises the core issue of this paper: what is the relationship between creation and criticism in the independent documentary Chinese? In this regard, the "Nanjing declaration". For the entry point, through a detailed analysis of the data, the creation and criticism of the controversial core problems caused by the reduction of the Nanjing forum site, and through the documentary director Mao Chenyu interview, the author put forward a bold conjecture: between independent documentary creation and criticism of the two is the "silent dialogue". Here the "silent dialogue" meaning mainly refers to the relationship between the two is alienated, long time in their respective fields of talking, did not form a balanced dialogue mechanism.
The scene is like the Nanjing forum is the game field of creation and criticism, the study from literature to film, always have, never stopped. Then in the documentary field showing what new features? This game between criticism and creation is accidental or inevitable? The need to sort out the whole longitudinal independent documentary film development course. Clear the independent documentary creation and criticism of their morphological characteristics.
The early independent documentary situation is difficult, even in foreign countries has been winning. But in China there is almost no effective means of communication, basically in the "underground" state, to the end of 90s, this dilemma has been effectively improved, and the emergence of DV, more is to promote the independent documentary to vigorous and diverse. Now, after 20 years of development, the independent documentary has begun to take shape, in recent years the independent documentary narrative theme is rich, mature, both in quantity and quality have been improved significantly. And the independent documentary criticism in school theory criticism as the main body, the moral criticism, criticism of social reality as the main mode of criticism, to establish their own independent words to reflect on the creation of the documentary. But independent documentary "underground" directly resulted in their communication and circulation once in a hidden state, basically out The mass media of the track, the criticism of this offbeat image attention is not universal, and independent image criticism but only in self identity and the western theory is full of contradictions and uncertainty. Based on its own characteristics of creation and criticism, the two real alienation is inevitable, is derived from the some mishap in the path of their development as well as the two mechanism for dialogue imbalance.
How to improve the relationship between writing and criticism, how to help both to the "ice road", in addition to the creation and criticism of their own efforts, this paper tries to put forward a new perspective, use of "reception aesthetics" theory of reflection to subjectivity emphasizes the audience to try to independent documentary film creation and criticism "two skins" situation. As an important factor of independent documentary structure of communication network, the audience's body position has been long ignored. In the independent documentary film, the audience's horizon of expectations can be the construction of images, the blank imagination can polish the image, the creator and audience there is a supply and demand the relationship between, while critics and audience can also try to form a universal dialogue and help establish their own discourse. Regain audience perspective does not mean one for good To solve the contradiction and dispute of creation and criticism, but thinking that another dimension can help the creation and criticism of self reflection, and for the creation and criticism of effective dialogue and provide intermediary channels, ease the tension between the two, two people from the "silent" to "dialogue" to provide a possible.

【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】：2014
【分類號(hào)】：J952

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