本文選題：紀(jì)錄片 + 故事片　； 參考：《揚州大學(xué)》2013年碩士論文

【摘要】：每個時代的紀(jì)錄片創(chuàng)作都會受到多方因素的影響,比如人們當(dāng)時的欣賞習(xí)慣、攝制技術(shù)和制作技巧、美學(xué)理念以及紀(jì)錄片制作者的真實觀念等。如果從《北方的納努克》算起,紀(jì)錄片已有90多年的歷史,在這90多年中國外的紀(jì)錄片取得了長足的發(fā)展并形成了完備的理論體系,總結(jié)國外紀(jì)錄片發(fā)展史可以大致將紀(jì)錄片的創(chuàng)作模式分為說服模式、觀察模式、參與模式、自省模式。這四種創(chuàng)作模式都是在特定真實觀的指導(dǎo)下產(chǎn)生的,同時這四種模式在采用“故事化”敘事時存在著巨大的差異。 由于我國特殊的國情,自建國至上世紀(jì)90年代紀(jì)錄片長期處于畫面加解說詞制作模式(說服模式),隨著我國對外交流的加深和人們欣賞習(xí)慣的改變以及國家對紀(jì)錄片發(fā)展的重視程度提高。紀(jì)錄片的創(chuàng)作模式發(fā)生了翻天覆地的變化,其中“故事化”敘事方法越來越多地運用在紀(jì)錄片的制作過程中,但由于我國紀(jì)錄片長期處于待發(fā)展的狀態(tài)沒有形成完備的理論,所以在運用“故事化”敘事方法時存在很多的問題,比如紀(jì)錄片“故事化”敘事的合理性、紀(jì)錄片真實性與“故事化”敘事的沖突、紀(jì)錄片“故事化”敘事應(yīng)該把握何種尺度。在我國紀(jì)錄片中“故事化”敘事看似是新鮮產(chǎn)物,其實在國外紀(jì)錄片中的“故事化”敘事早已存在,其源頭可以追溯到首部紀(jì)錄片——《北方的納努克》,在以后紀(jì)錄片發(fā)展的歷程中,“故事化”敘事手段和模式不斷在發(fā)展。本文試圖通過對國外紀(jì)錄片發(fā)展史上不同制作模式的“故事化”敘事方法的考察,尋找出“故事化”敘事方法演變的軌跡；另外紀(jì)錄片“故事化”敘事是在真實觀念的指導(dǎo)下完成的,本文不僅研究“故事化”敘事的策略,而且還對不同流派紀(jì)錄片所持有的真實觀念進(jìn)行探究。并以此為基礎(chǔ)為國產(chǎn)紀(jì)錄片的“故事化”敘事做理論和實踐上的參考。
[Abstract]:Documentary creation in every era is influenced by many factors, such as people's appreciation habits, filming techniques and techniques, aesthetic concepts and the true ideas of documentary makers. If the documentary film has a history of more than 90 years since "Nanook in the North", documentaries outside China have made considerable progress and formed a complete theoretical system. Summing up the history of documentary development abroad, we can roughly divide the creation mode of documentary into persuasion, observation, participation and introspection. These four creation modes are all produced under the guidance of the specific view of reality, at the same time, there are great differences in the use of "story" narration. Because of China's special national conditions, Since the founding of the people's Republic of China and the 1990s, documentary films have been in the mode of making pictures and narratives for a long time (persuasion mode), along with the deepening of our country's foreign exchanges and the change of people's appreciation habits, as well as the degree of national attention to the development of documentaries. The mode of documentary creation has changed dramatically, in which the narrative method of "story" has been used more and more in the process of documentary production. However, because of the fact that the documentary in our country has been in the state of development for a long time, it has not formed a complete theory. Therefore, there are many problems in the use of "story" narrative method, such as the rationality of documentary "story" narration, the conflict between documentary authenticity and "story" narrative, and the standard of documentary "story" narrative. The narrative of "story" seems to be a new product in Chinese documentaries. In fact, the narrative of "story" in foreign documentaries has already existed. Its origin can be traced back to the first documentary, "Nanook in the North". In the course of the development of the documentary, the narrative means and mode of "story" are constantly developing. This paper attempts to find out the evolution of the narrative method of "story" through the investigation of the narrative methods of different production modes in the history of documentary development abroad. In addition, the narrative of "story" in documentary film is completed under the guidance of the concept of reality. This paper not only studies the narrative strategy of "story", but also probes into the concept of reality held by different schools of documentary. And on this basis for the domestic documentary "story" narrative to do theoretical and practical reference.
【學(xué)位授予單位】：揚州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J952

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 蔡之國;;論電視紀(jì)錄片的敘事結(jié)構(gòu)[J];浙江傳媒學(xué)院學(xué)報;2008年06期

2 蔡之國;;電視紀(jì)錄片的敘事節(jié)奏[J];當(dāng)代傳播;2006年06期

3 劉小文;;紀(jì)錄片真實的底線與虛構(gòu)的尺度[J];東南傳播;2011年07期

4 趙伯平;;對紀(jì)錄片真實性與主觀表現(xiàn)的思考[J];電視研究;2008年10期

5 楊曉文;;后現(xiàn)代主義鏡像——析后現(xiàn)代主義對新紀(jì)錄電影的影響[J];電影文學(xué);2008年14期

6 孫景麗;;淺析電視紀(jì)錄片敘事手法故事化傾向與表達(dá)[J];電影評介;2012年04期

7 林達(dá)·威廉姆斯,李萬山;沒有記憶的鏡子——真實、歷史與新紀(jì)錄電影[J];電影藝術(shù);2000年02期

8 武新宏;;2008-2009中國紀(jì)錄片特征分析[J];中國電視(紀(jì)錄);2010年03期

9 陳一雷;;紀(jì)錄片故事化演變狀況探析[J];南京工程學(xué)院學(xué)報(社會科學(xué)版);2011年01期

10 孟采霞;;泛故事化時代的電視故事講述[J];現(xiàn)代視聽;2008年08期

相關(guān)博士學(xué)位論文 前2條

1 趙曦;紀(jì)錄片邊界問題研究[D];中國傳媒大學(xué);2008年

2 賈愷;紀(jì)實的烏托邦——弗拉哈迪電影研究[D];華東師范大學(xué);2009年

，

本文編號：1929925