本文選題：紀(jì)錄片　切入點：紀(jì)錄片邊界　出處：《河北大學(xué)》2013年碩士論文

【摘要】：紀(jì)錄片與劇情片一直代表著傳統(tǒng)觀念中對于電影樣式的最基本劃分，這種劃分方法代表著電影創(chuàng)作的兩種最基本傾向，“再現(xiàn)真實”與“表現(xiàn)虛構(gòu)”，即“真實”與“虛構(gòu)”的傳統(tǒng)對立。不過當(dāng)代電影中一種新的傾向是，“真實”與“虛構(gòu)”的對立逐漸消解，紀(jì)錄片與劇情片的界限日益模糊，二者之間的模糊地帶,正是孕育新電影形態(tài)的溫床，于是，融合了紀(jì)錄片與劇情片各自特征的電影作品越來越多的出現(xiàn)，并形成了一些全新的電影樣式。鑒于這一新現(xiàn)象，本文試圖深入探討紀(jì)錄片邊界的延展、紀(jì)錄片與劇情片界限的模糊、新的電影樣式出現(xiàn)等一系列問題，借此來把握最新的電影發(fā)展動態(tài)。 第一章首先提出在傳統(tǒng)電影理論中，紀(jì)錄片與劇情片這兩種對立性的電影樣式分別代表著“再現(xiàn)真實”與“表現(xiàn)虛構(gòu)”的創(chuàng)作傾向。不過，由于“真實”一詞的多義性，使得“真實”與“虛構(gòu)”并非簡單對立，二者之間有著更為復(fù)雜與辯證的關(guān)系。隨后從世界紀(jì)錄電影史的角度切入，詳細(xì)回顧紀(jì)錄片的歷史，并試圖尋找到歷史的不同時期，紀(jì)錄片創(chuàng)作者以及紀(jì)錄片作品對于“真實”與“虛構(gòu)”的不同理解，回顧紀(jì)錄片史上貫穿始終的“真實”與“虛構(gòu)”之爭。 第二章以上一章對于紀(jì)錄片的歷史梳理為基礎(chǔ)，，首先得出“紀(jì)錄片的歷史就是一部關(guān)于真實觀念的理解史”的結(jié)論，提出在紀(jì)錄片的歷史演進(jìn)過程中，對于“真實”的理解是逐漸深入的，“真實”觀念是不斷被顛覆與修正，“真實”是紀(jì)錄片的內(nèi)涵屬性；然后提出“虛構(gòu)”策略作為紀(jì)錄片創(chuàng)作者實現(xiàn)各自“真實”觀念的手段，在紀(jì)錄片的歷史中始終存在，“虛構(gòu)”是紀(jì)錄片的外延邊界：最后得出結(jié)論，隨著對于“真實”觀念的不斷修正與對于“虛構(gòu)”策略的愈發(fā)重視，紀(jì)錄片的邊界在近些年愈發(fā)向外拓展，并導(dǎo)致紀(jì)錄片與劇情片之間原本清晰的界限逐漸模糊，以及兼具紀(jì)錄片與劇情片特征的新興電影樣式的出現(xiàn)。 第三、四章則對劇情紀(jì)錄片、虛構(gòu)紀(jì)錄片、偽紀(jì)錄片這幾種紀(jì)錄片與劇情片的雜交樣式，進(jìn)行概念的界定與特征的分析，闡述它們各自的樣式特點與發(fā)展?fàn)顩r，對比它們之間的異同，以此來把握當(dāng)前紀(jì)錄片與劇情片界限消解、新興雜交樣式多樣化發(fā)展這一世界電影發(fā)展的新趨勢。
[Abstract]:Documentaries and drama films have always represented the most basic division of film styles in traditional concepts. This division method represents the two most basic tendencies of film creation, "reproducing reality" and "performance fiction", that is, the traditional opposition between "truth" and "fiction". However, a new tendency in contemporary film is "reality" and "fictional". The opposites of fiction are gradually dispelled, The boundary between documentaries and feature films is increasingly blurred. The fuzzy zone between them is the breeding ground for new film forms. Therefore, more and more films that combine the characteristics of documentaries and drama films appear more and more. In view of this new phenomenon, this paper attempts to probe into a series of problems, such as the extension of the documentary boundary, the blurring of the boundary between the documentary and the drama film, the emergence of new film styles, and so on. In order to grasp the latest developments in the film. In the first chapter, the author points out that in the traditional film theory, documentary and drama represent the creative tendency of "representation of reality" and "representation of fiction" respectively. However, due to the polysemy of the word "truth", The relationship between "reality" and "fiction" is more complex and dialectical. Then, from the perspective of the world record film history, the author reviews the history of documentary film in detail, and tries to find different periods of history. Documentary creators and documentary works have different understandings of "truth" and "fiction", and review the controversy between "truth" and "fiction" throughout the history of documentary. In the second chapter, the author first concludes that the history of documentary is a history of understanding the concept of reality, and points out that in the process of historical evolution of documentary, The understanding of "reality" is gradually deepened, the concept of "reality" is constantly subverted and amended, "truth" is the connotation attribute of documentary, and then "fictional" strategy is proposed as a means for documentary creators to realize their "real" concept. In the history of documentary, "fiction" is the extension boundary of documentary. Finally, it is concluded that with the constant revision of the concept of "reality" and the increasing attention to the strategy of "fiction", In recent years, the boundary of documentary is increasingly expanding, which leads to the blurring of the original clear boundary between documentary and feature film, as well as the emergence of new film styles with the characteristics of documentary and feature film. In the third and fourth chapters, we define and analyze the concept and characteristics of these kinds of documentaries and feature films, and expound the characteristics and development of their respective styles and characteristics, as well as the hybrid styles of drama documentaries, fictional documentaries and pseudo-documentaries. By comparing the similarities and differences between them, this paper tries to grasp the new trend of the world film development, which is to dispel the boundary between the documentary and the feature film, and to diversify the new hybrid style.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J95

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本文編號：1679912