發(fā)布時間：2018-01-30 01:07

  本文關(guān)鍵詞： 內(nèi)蒙古人文電視紀錄片 紀實美 敘事美 詩意美　出處：《內(nèi)蒙古師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：紀錄片是時代精神的記錄者，是一個國家、民族活著的記憶，承載著對民族乃至人類的人文精神的記錄與重現(xiàn)，其中人文電視紀錄片以藝術(shù)價值高、文化價值大的特點成為最受青睞的片種。我國人文電視紀錄片創(chuàng)作在20世紀90年代進入高潮，《沙與海》《最后的山神》《藏北人家》《遠去的村莊》《八廓南街16號》《龍脊》等作品的出世不僅開始了對人、對精神的關(guān)注，也開啟了中國紀錄片走向世界之門，這些作品先后獲得了亞廣聯(lián)紀錄片大獎、日本山形國際紀錄片電影節(jié)“小川坤介”獎、法國蓬皮杜中心“真實電影節(jié)”首獎等多個國際獎項。 內(nèi)蒙古人文電視紀錄片作為中國人文電視紀錄片中展現(xiàn)獨特的民族文化、民族精神的一個分支，具有重要的理論研究價值。自1979年第一部內(nèi)蒙古人文電視紀錄片《沙漠散記》開拍以來，產(chǎn)生了《草原散記》《馴鷹散記》《最后的山神》《神鹿啊，我們的神鹿》《金色圣山》《父親的眼淚》《寶嬈的故事》《沒有縫完的蒙古袍》《下山》《駝殤》《過冬》等多部優(yōu)秀作品，，以其獨特的題材內(nèi)容、多元的紀實手法、深刻的主題意蘊，深受觀眾喜愛，得到業(yè)界人士的一致認可，獲得了國際國內(nèi)多個獎項。 本論文將借鑒法國著名電影理論家讓·米特里的電影美學(xué)三層次理論，結(jié)合民族學(xué)、文化學(xué)、紀錄片、敘事學(xué)等理論，用文本細讀法全面把握內(nèi)蒙古人文電視紀錄片的美學(xué)特征。全文由緒論、內(nèi)蒙古人文電視紀錄片的紀實美、敘事美、詩意美、余論五部分組成。 緒論，主要介紹幾個概念：電視紀錄片（概念及分類）、人文電視紀錄片、內(nèi)蒙古人文電視紀錄片，并簡述了內(nèi)蒙古人文電視紀錄片的發(fā)展概況及論文的研究框架。 一、內(nèi)蒙古人文電視紀錄片的紀實美，是從紀錄片的“真實”本質(zhì)出發(fā)，結(jié)合米特里電影美學(xué)第一層理論——影像的再現(xiàn)功能，主要討論內(nèi)蒙古人文電視紀錄片的主觀真實與客觀真實、表象真實與本質(zhì)真實相結(jié)合的紀實特征。 二、內(nèi)蒙古人文電視紀錄片的敘事美，是從紀錄片的敘事性出發(fā)，結(jié)合米特里電影美學(xué)第二層理論——影像間的蘊涵關(guān)系以及敘事學(xué)相關(guān)理論，主要從敘事方式的故事化、敘事視角的綜合化、敘事結(jié)構(gòu)的多元化三方面入手，討論了情節(jié)化敘述、巧設(shè)懸念、注重細節(jié)運用、各敘事視角相結(jié)合運用、表層及深層敘事結(jié)構(gòu)等問題。 三、內(nèi)蒙古人文電視紀錄片的詩意美，是從紀錄片的藝術(shù)性出發(fā)，結(jié)合米特里電影美學(xué)第三層理論——由影像造型等藝術(shù)效果實現(xiàn)的“詩意”表達，探討了創(chuàng)作者的情感投入、作品意義表達，并重點從畫面運用、虛實互動、聲畫關(guān)系三方面重點討論了內(nèi)蒙古人文電視紀錄片獨特的藝術(shù)表現(xiàn)手段。 余論，簡述內(nèi)蒙古人文電視紀錄片在創(chuàng)作中存在的局限與不足，以期為內(nèi)蒙古人文電視紀錄片的繁榮發(fā)展提供一定的理論指導(dǎo)和實踐啟示。
[Abstract]:Documentary is a record of the spirit of the times, is a country, the living memory of the nation, bearing the record and reproduction of the humanistic spirit of the nation and even human beings, among which the humanistic television documentary film is of high artistic value. The characteristics of great cultural value have become the most popular film. In 1990s, the creation of Chinese humanistic television documentary entered its climax. The birth of works such as "Sand and Sea", "the Last Mountain God," "the people of Northern Tibet", "the villages gone", "16 Bagunan Street," "Longji" and so on, not only began to pay attention to people, but also to the spirit. Also opened the door to the world of Chinese documentaries, these works have won the Asian wide Federation documentary awards, Japan Mountain International documentary Film Festival "Kosuki Ogawa" award. Pompidou Center in France, "Real Film Festival," the first prize and other international awards. As a branch of Chinese language TV documentary, Inner Mongolia humanistic television documentary shows unique national culture and national spirit. It has important theoretical research value. Since 1979, the first Inner Mongolia humanistic television documentary "Desert Stripe" began shooting, it has produced "prairie Stripe" "falconry" "the Last Mountain God" < "Deer". Our Deer > "Golden Holy Mountain" "Father's tears" "Bao Rao's Story" "Mongol robes without stitching" "Down the Mountain" < camel War > "wintering" and many other excellent works, with its unique theme content. Multiple documentary techniques, profound theme implications, deeply loved by the audience, has been unanimously recognized by the industry, won a number of international and domestic awards. This paper will draw lessons from the famous French film theorist Jean-Mitri 's three-level theory of film aesthetics, combining the theories of ethnology, culturology, documentaries, narratology, and so on. The article is composed of five parts: introduction, documentary beauty, narrative beauty, poetic beauty and remainder discussion. Introduction, mainly introduces several concepts: television documentary (concept and classification), humanities television documentary, Inner Mongolia humanistic television documentary. The development of Inner Mongolia Humanities TV documentary and the research frame of the thesis are also briefly described. First, the documentary beauty of Inner Mongolia humanistic TV documentary is based on the "real" nature of documentary, combined with Mitri film aesthetics theory of the first layer-image reproduction function. This paper mainly discusses the documentary features of subjective reality and objective reality of Inner Mongolia humanistic television documentary film, and the combination of representation truth and essential reality. Secondly, the narrative beauty of Inner Mongolia humanistic TV documentary is based on the narration of documentary, combining with Mitri's second theory of film aesthetics, the implication relationship between images and the related theories of narratology. Mainly from the narrative way of story, narrative perspective of synthesis, narrative structure of the three aspects, discussed the plot of narrative, skillfully set up suspense, pay attention to the use of details, the combination of narrative perspective. Surface and deep narrative structure and so on. Thirdly, the poetic beauty of Inner Mongolia humanistic TV documentary is the expression of "poetic" which is realized by artistic effect such as image modeling and so on, based on the artistic nature of documentary and the third theory of Mitri's film aesthetics. This paper probes into the emotional input of the creators, the expression of the meaning of the works, and emphatically discusses the unique artistic expression means of the Inner Mongolia Humanities TV documentary from three aspects: the application of the picture, the interaction of the virtual reality and the relationship between the sound and painting. On the other hand, the limitations and shortcomings in the creation of Inner Mongolia humanistic TV documentary are briefly described, in order to provide certain theoretical guidance and practical enlightenment for the prosperity and development of Inner Mongolia humanistic television documentary.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J952

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