發(fā)布時間：2018-02-26 03:10

  本文關(guān)鍵詞： 倫理 拍攝者 被拍攝者 尊重 傷害　出處：《東北師范大學》2013年碩士論文　論文類型：學位論文

【摘要】：倫理問題伴隨著人類社會的發(fā)展，同樣倫理問題也存在于紀錄片的創(chuàng)作中，近年來，隨著人們對紀錄片的關(guān)注，相應的倫理問題也就更加明顯的體現(xiàn)出來。而紀錄片主要是基于拍攝者、被拍攝者和觀眾這三者之間的互動關(guān)系，因此本文所要研究的是紀錄片制作過程中拍攝者與被拍攝者的倫理關(guān)系問題。 本文主要分為五個部分，分別對研究背景、道德底線、拍攝者與被拍攝者之間的道德關(guān)系、拍攝者與被拍攝者的權(quán)利意識和結(jié)論。綜合紀錄片各類拍攝方式中拍攝者與被拍攝者的關(guān)系來說，相互信任是紀錄片拍攝的前提，創(chuàng)作者在拍攝過程中不可避免的介入到被拍攝者的生活中，但是尊重事實真相，盡量減少對拍攝對象的干涉是每個紀錄片人的責任和義務。紀錄片創(chuàng)作者在制作中要有自己的道德底線，既要保證紀錄片中的人物更加真實和客觀，還不能為了真實而“真實”。我們關(guān)注人性，我們用紀錄這種方式來進行自我反思，反思社會，但我們絕不能以傷害被拍攝者和與其相關(guān)的人為方式來獲得自己想要的真實效果。拍攝者一定要尊重拍攝對象的隱私權(quán)，這是紀錄片拍攝中最重要的道德問題，，因為紀錄片對拍攝對象隱私的公開對被拍攝者造成的心理傷害是不可能消除的，紀錄片制作者要在不侵害隱私、不干涉被侵害者與侵害隱私、干涉被拍攝者之間尋找一個支點，來維持兩者的平衡，這樣才能既尊重拍攝對象的權(quán)利，同時又能讓觀眾享有知情的權(quán)利，因為紀錄片最好的觀賞狀態(tài)就是受眾一定要與被拍攝者處于相對的位置，要能與拍攝對象感同身受。 因此，在紀錄片拍攝中，我們呼吁人文關(guān)懷，期望制作者尊重拍攝對象，紀錄片制作在注重真實性的同時，要確保政治方向是正確的，減少對拍攝對象的精神和肉體的傷害，同時減輕對受眾的視覺傷害，真正處理好紀錄片制作者，被拍攝者和觀眾之間的相互關(guān)系，確保紀錄片的順利拍攝，實現(xiàn)最終的拍攝目的。
[Abstract]:Along with the development of human society, ethical issues also exist in the creation of documentaries. In recent years, with the attention of people to documentaries, The corresponding ethical issues are also more evident. The documentary is mainly based on the interaction between the filmmaker, the person being filmed and the audience. Therefore, this paper is to study the ethical relationship between the filmmakers and the photographers in the process of documentary making. This paper is divided into five parts: the background of the research, the moral bottom line, the moral relationship between the photographer and the photographer, In terms of the relationship between the filmmakers and the photographers, mutual trust is the premise of documentary shooting. The creator inevitably gets involved in the life of the person being filmed, but respects the truth, It is the responsibility and duty of every documentary person to minimize interference with the subject of filming. Documentary creators should have their own moral bottom line in their production, and they should ensure that the characters in the documentary are more realistic and objective. We can't be "real" for the sake of reality. We focus on human nature. We use the method of recording to reflect on ourselves, to reflect on society, But we must not get the real effect we want by hurting the person we photograph and the people associated with it. The photographer must respect the privacy of the subject, which is the most important moral issue in documentary shooting. Because it is impossible to eliminate the psychological harm caused by the publicity of the privacy of the subject of the documentary. The documentary filmmaker should seek a fulcrum between the non-invasion of privacy, the non-interference with the victim and the invasion of privacy, and the interference with the subject. To maintain the balance between the two, so that we can not only respect the rights of the subject, but also let the audience enjoy the right to know, because the best viewing state of the documentary is that the audience must be in a relative position with the person being filmed. Be able to relate to the subject. Therefore, in documentary shooting, we call for humanistic concern, expect the producer to respect the object of filming, documentary making should pay attention to authenticity, at the same time, to ensure that the political direction is correct, reduce the mental and physical injury to the target. At the same time, it can reduce the visual injury to the audience, deal with the relationship between the documentary makers, the filmmakers and the audience, ensure the smooth shooting of the documentary and achieve the ultimate purpose of shooting.
【學位授予單位】：東北師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J952;B82-05

【參考文獻】

相關(guān)期刊論文 前10條

1 劉紅梅;;什么樣的人文關(guān)懷?[J];讀書;2006年10期

2 武亮宇;;談紀錄片創(chuàng)作中的傷害問題[J];電影評介;2010年01期

3 戴錦華;本文的策略:電影敘事研究[J];電影藝術(shù);1994年01期

4 黎小鋒 ,賈愷;紀錄,是一種協(xié)作 談紀錄片中拍攝者與被攝者的關(guān)系[J];電影藝術(shù);2003年04期

5 樊啟鵬;;中國私紀錄片帶來的變化與挑戰(zhàn)[J];電影藝術(shù);2007年06期

6 盧曉云;紀錄片創(chuàng)作中的倫理觀念[J];當代電視;2003年03期

7 基·科亨 ,郝大錚 ,郝欣;電影敘事與語言[J];世界電影;1985年03期

8 沈慶斌;;紀錄片倫理問題探討[J];文藝爭鳴;2010年24期

9 何蘇六;紀錄片的責任與影響力[J];現(xiàn)代傳播;2005年01期

10 王冬冬;劉躍;;紀錄片拍攝中記錄者與被拍攝對象共謀關(guān)系分析[J];現(xiàn)代傳播(中國傳媒大學學報);2012年05期

本文編號：1536263