本文關(guān)鍵詞： 《鐵西區(qū)》 中國獨(dú)立紀(jì)錄片 全知視點(diǎn)　出處：《廈門大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：2000年8月9日,鐵西區(qū)特大型國有企業(yè)正式宣布破產(chǎn)。這個(gè)修建于20世紀(jì)30年代的工業(yè)區(qū)曾經(jīng)成就了無數(shù)輝煌,而如今由于它的長期虧損導(dǎo)致的倒閉引發(fā)了一系列的連鎖反應(yīng),最直接的莫過于一百萬工人的失業(yè)。1999年末,中國獨(dú)立記錄制片人王兵帶著一臺(tái)DV走進(jìn)鐵西區(qū),歷時(shí)18個(gè)月的拍攝和18個(gè)月的剪輯,以鐵路為貫穿全片的主線、以鐵西區(qū)的3個(gè)工廠為主人公的《鐵西區(qū)》誕生,此片作為中國獨(dú)立紀(jì)錄片成熟時(shí)期的代表作品,又是一部記錄中國社會(huì)歷史變革的影視作品,因此在中國獨(dú)立紀(jì)錄片史上具有重要的研究價(jià)值。 本文以《鐵西區(qū)》為研究對(duì)象,通過文本細(xì)讀的手法,從敘事學(xué)、美學(xué)、電影符號(hào)學(xué)等角度對(duì)鐵西區(qū)進(jìn)行解構(gòu),并從形式感和哲理性兩個(gè)方面對(duì)《鐵西區(qū)》的文本成因進(jìn)行了探討。研究發(fā)現(xiàn),王兵在拍攝《鐵西區(qū)》時(shí)恪守著高度不干涉主義原則,將個(gè)人的拍攝模式放置在直接電影的教條之中,把“墻上的蒼蠅”式的拍攝手法發(fā)揮到了極致。片中出現(xiàn)大量的長鏡頭、多角度的視點(diǎn)轉(zhuǎn)換以及作者嚴(yán)格的自我消隱體現(xiàn)出了王兵對(duì)形式感的刻意追求,也反映了他試圖還原完整歷史時(shí)空的全知式野心。通過分析得出,王兵的全知式野心一方面來源于全知視點(diǎn)的特性和《鐵西區(qū)》題材的契合,另一方面在于王兵早期在電影學(xué)院學(xué)習(xí)過程中受到的世界電影大師的影響。另外,本文還分析了鐵西區(qū)中不同的個(gè)體和群體在現(xiàn)實(shí)面前的矛盾體現(xiàn),闡釋了鐵西區(qū)所有人對(duì)周遭環(huán)境的麻木根源于中國傳統(tǒng)農(nóng)耕倫理文化。 最后,本文還從社會(huì)、技術(shù)、政治與市場等角度分析了《鐵西區(qū)》產(chǎn)生的時(shí)代背景和與社會(huì)環(huán)境的聯(lián)系。媒介技術(shù)的發(fā)展催生了DV,社會(huì)化紀(jì)錄片時(shí)期的到來呼吁更加關(guān)注現(xiàn)實(shí)主流社會(huì)的作品,而政治與市場的博弈最終導(dǎo)致鐵西區(qū)成為時(shí)代前行中的犧牲品。
[Abstract]:In August 9th 2000, a large state-owned enterprise in Tiexi officially declared bankruptcy. The industrial zone, which was built in 1930s, has made numerous achievements, but now the collapse caused by its long-term losses has triggered a series of chain reactions. The most immediate is the unemployment of 1 million workers. In end of 1999, Chinese independent record producer Wang Bing walked into Tiexi with a DV, which lasted 18 months of filming and 18 months of editing, with the railway as the main line throughout the film. Tiexi, with three factories in Tiexi as the protagonist, was born. As a representative of the mature period of China's independent documentary, this film is also a film and television work recording the social and historical changes in China. Therefore, it has important research value in the history of independent documentary in China. Taking Tiexi as the object of study, this paper deconstructs Tiexi from the angles of narratology, aesthetics, film semiotics and so on. The text causes of Tiexi are discussed in terms of sense of form and philosophy. It is found that Wang Bing adheres to the principle of high non-interventionism when filming Tiexi. Put personal shooting mode in the dogma of direct film, and put the "fly on the wall" style to the extreme. There are a lot of long shots in the film. The multi-angle change of view and the author's strict self-elimination reflect Wang Bing's deliberate pursuit of the sense of form, as well as his omniscient ambition of trying to restore a complete historical space and time. Wang Bing's omniscient ambition originates from the agreement of the characteristics of the omniscient viewpoint with the theme of Tiexi on the one hand, and the influence of the world film masters on Wang Bing's early study at the Film Academy on the other. This paper also analyzes the contradictory embodiment of different individuals and groups in Tiexi, and explains that the numbness of all people in Tiexi to the surrounding environment is rooted in the traditional Chinese agricultural ethics culture. Finally, this article also from the society, the technology, From the angle of politics and market, this paper analyzes the background of "Tiexi" and its connection with social environment. The development of media technology gave birth to DVV, and the coming of social documentary called for paying more attention to the works of the mainstream society. The game between politics and market led Tiexi to become the victim of the times.
【學(xué)位授予單位】：廈門大學(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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