本文選題：紀(jì)錄片　切入點：臺灣　出處：《重慶大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：自1987年臺灣“解嚴(yán)”以來，臺灣紀(jì)錄片隨著整個社會文化環(huán)境的變化和社會意識的覺醒，在創(chuàng)作、研究和展演等方面取得了長足的發(fā)展。而在海峽對岸的大陸，同樣也在80年代末悄然興起了一波獨立紀(jì)錄片運動，兩岸的紀(jì)錄片發(fā)展在80、90年代有很多相似之處。但隨后兩岸紀(jì)錄片的發(fā)展卻由于不同的政治和社會背景，逐漸走向了完全不同的道路。本文將通過梳理“解嚴(yán)”之后臺灣紀(jì)錄片的發(fā)展脈絡(luò)來探究臺灣新紀(jì)錄片運動對臺灣紀(jì)錄片蓬勃發(fā)展的影響。 上世紀(jì)80年代，由于臺灣風(fēng)起云涌的社會運動和攝影技術(shù)的進(jìn)步，來自于民間的紀(jì)錄片打破了官方對媒體的壟斷，紀(jì)錄片成為社會運動的利器�！敖鈬�(yán)”后，隨著臺灣媒體環(huán)境的變化和臺灣社會意識的覺醒，臺灣紀(jì)錄片出現(xiàn)了多元的拍攝題材，通過對多個熱點社會議題的探討和對底層邊緣人物的關(guān)注，臺灣紀(jì)錄片開始走向百花齊放時代。 90年代中后期，由于臺灣公視《紀(jì)錄觀點》的開播、國際紀(jì)錄片雙年展的舉辦，為臺灣紀(jì)錄片的發(fā)展提供了更為寬廣的傳播平臺和國際視野；與此同時，臺南藝術(shù)大學(xué)音像紀(jì)錄所的成立和臺灣各地社區(qū)影像培力營的開辦，不僅為臺灣紀(jì)錄片的發(fā)展培養(yǎng)了專業(yè)的創(chuàng)作人才，，而且還通過發(fā)動民間力量，為臺灣紀(jì)錄片培養(yǎng)了大批的紀(jì)錄片觀眾和草根紀(jì)錄片創(chuàng)作者。此外，誕生于1986年的全景印象工作室，通過其核心人物吳乙峰多年來不遺余力的對紀(jì)錄片的推廣和對紀(jì)錄片人才的培訓(xùn)計劃，使得“全景模式”對后來臺灣的紀(jì)錄片創(chuàng)作者產(chǎn)生了巨大的影響，使得關(guān)注弱勢邊緣人物和長期蹲點后與拍攝對象“搏感情”的方式成為后來臺灣紀(jì)錄片的一大特色。 近年來，通過多遠(yuǎn)的行銷途徑，臺灣紀(jì)錄片無論是在口碑還是票房上都取得不俗的成績。借力各色影展，臺灣紀(jì)錄片得以讓更多人看見；通過來自于政要、明星等名人的口碑營銷和針對特定觀眾群體的網(wǎng)絡(luò)精準(zhǔn)營銷，掀起一波波觀看紀(jì)錄片的熱潮，很多紀(jì)錄片的票房甚至遠(yuǎn)遠(yuǎn)超過大片；最后，通過近年來同國家地理和探索頻道的合作，臺灣紀(jì)錄片開始逐漸登上國際舞臺，使得來自于臺灣的本土文化進(jìn)入世界各地的媒體中。 本文通過梳理已取得不俗成績的臺灣紀(jì)錄片近三十年的發(fā)展脈絡(luò)，以時間的縱軸和社會因素的橫軸為坐標(biāo)，為蓄勢待發(fā)的大陸紀(jì)錄片提供可參考和對比的研究資料。
[Abstract]:Since 1987, with the changes of the whole social and cultural environment and the awakening of social consciousness, Taiwan documentaries have made great progress in the fields of creation, research and exhibition. At the end of 80s, there was also a wave of independent documentary movements. The development of documentaries on both sides of the Taiwan Strait had many similarities in the 1980s and 1990s. But then the development of documentaries across the Taiwan Strait was due to different political and social backgrounds. This paper will explore the influence of Taiwan's new documentary movement on the vigorous development of Taiwan documentary by combing the development of Taiwan documentary after "lifting martial law". In -20s, due to Taiwan's surging social movement and advances in photography technology, documentaries from the private sector broke the official monopoly on the media, and documentaries became a sharp weapon of social movements. After "lifting the martial law," With the changes in Taiwan's media environment and the awakening of Taiwan's social consciousness, Taiwan documentaries have appeared a variety of shooting themes, through the discussion of a number of hot social issues and their concern for the underclass fringe figures. Taiwan documentary began to move towards the era of blooming a hundred flowers. In 90s, due to the launch of Taiwan Public Television's documentary Viewpoint, the holding of the International documentary Biennale provided a wider communication platform and an international perspective for the development of Taiwan's documentaries; at the same time, The establishment of the Audio-Video recording Institute of Tainan University of Art and the opening of community video camps in various parts of Taiwan have not only trained professional creative talents for the development of Taiwan documentaries, but also mobilized private forces. It has trained a large number of documentary audiences and grassroots documentary creators for Taiwan documentaries. In addition, the panoramic impression studio, which was born in 1986, Through its core character, Wu Yifeng, who has spared no effort in promoting documentaries and training documentaries for many years, the "panoramic model" has had a tremendous impact on later documentary creators in Taiwan. It makes the way of focusing on the vulnerable characters and long-term stay with the filming object to be a major feature of the later Taiwan documentary. In recent years, Taiwan documentaries have made remarkable achievements both in word of mouth and at the box office through how far they can be marketed. With the help of a variety of film festivals, Taiwan documentaries have been able to be seen by more people; through political figures, The reputation marketing of celebrities, such as celebrities, and the accurate marketing of the Internet for specific audience groups have set off a wave of documentaries, many of which have far exceeded the box office of blockbusters. Finally, Through the cooperation with National Geographic and Discovery Channel in recent years, Taiwan documentaries have gradually stepped onto the international stage, making native culture from Taiwan into the media all over the world. By combing the development of Taiwan documentaries in the past 30 years, and taking the vertical axis of time and the horizontal axis of social factors as coordinates, this paper provides references and comparative research materials for the forthcoming mainland documentaries.
【學(xué)位授予單位】：重慶大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J952

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本文編號：1610884