本文選題：紀(jì)錄片創(chuàng)作 + 表現(xiàn)�。� 參考：《南京航空航天大學(xué)》2013年碩士論文

【摘要】：在新紀(jì)錄電影的理論和實(shí)踐影響下，紀(jì)錄片不再是對(duì)歷史現(xiàn)實(shí)的簡(jiǎn)單還原。在傳統(tǒng)寫(xiě)實(shí)手法的基礎(chǔ)之上，添加更加細(xì)致、多元化的表現(xiàn)性方式，既不會(huì)破壞紀(jì)錄片的真實(shí)性，又能增加紀(jì)錄片的可視性，更能有效的表達(dá)創(chuàng)作者的主觀意圖。表現(xiàn)性方式的合理運(yùn)用使紀(jì)錄片的創(chuàng)作趨于個(gè)性化，能夠形成自身獨(dú)特鮮明的影像風(fēng)格，從而彰顯出更強(qiáng)的藝術(shù)生命力。 本文試圖對(duì)紀(jì)錄片創(chuàng)作中的表現(xiàn)性方式進(jìn)行概念界定以及系統(tǒng)梳理，，主要從鏡頭寫(xiě)意、場(chǎng)景建構(gòu)和材料的匯編性重組三個(gè)方面，探討表現(xiàn)性方式具體在紀(jì)錄片創(chuàng)作中如何運(yùn)用。其中，鏡頭寫(xiě)意從攝影機(jī)與被攝體的透視關(guān)系、距離及主觀鏡頭等方面歸納其運(yùn)用的形式與手段；場(chǎng)景建構(gòu)以視覺(jué)元素與聽(tīng)覺(jué)元素為突破口，對(duì)建構(gòu)場(chǎng)景的各個(gè)要素的表現(xiàn)性方式進(jìn)行全面分析；匯編性重組從畫(huà)面語(yǔ)言與解說(shuō)詞切入，探究匯編手法在紀(jì)錄片制作階段，以歷史真實(shí)為基礎(chǔ)，對(duì)材料進(jìn)行重新組合的藝術(shù)表現(xiàn)力。 同時(shí)，在論述中筆者結(jié)合國(guó)內(nèi)外的優(yōu)秀紀(jì)錄片實(shí)例對(duì)問(wèn)題加以分析和解決，以期為今后的紀(jì)錄片創(chuàng)作起到一定的參考借鑒作用。
[Abstract]:Under the influence of the theory and practice of the new documentary film, documentary is no longer a simple restoration of the historical reality. On the basis of traditional realistic techniques, adding more meticulous and diversified expressive ways can not only destroy the authenticity of documentary, but also increase the visibility of documentary and express the subjective intention of creators more effectively. The rational use of the expressive way makes the creation of documentary become individualized, and can form its own unique and distinct image style, thus showing a stronger artistic vitality. This paper attempts to define and systematically comb the expressive way in documentary creation, mainly from three aspects of lens freehand brushwork, scene construction and material compilation reorganization, and discusses how to use expressiveness in documentary creation. Among them, lens freehand brushwork induces its application form and means from the perspective relation between camera and subject, distance and subjective lens, and scene construction takes visual element and auditory element as breakthrough point. This paper makes a comprehensive analysis of the expressive ways of each element of the construction scene, and the compilation reorganization starts from the picture language and the explanation, and explores the compilation technique in the documentary making stage, which is based on the historical reality. The artistic expressiveness of recombining materials. At the same time, the author analyzes and solves the problem with the excellent documentary examples at home and abroad, in order to play a certain reference role in the future documentary creation.
【學(xué)位授予單位】：南京航空航天大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J952

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