【摘要】：在現(xiàn)代家庭中,會(huì)客廳是展示家庭形象的重要空間,而紀(jì)錄片則通過(guò)對(duì)現(xiàn)實(shí)進(jìn)行創(chuàng)造性處理,呈現(xiàn)多種維度的民族國(guó)家形象,在世界交往中扮演著國(guó)家會(huì)客廳角色。紀(jì)錄片與全體國(guó)民共同創(chuàng)造的國(guó)家形象存在同構(gòu)性,它們既具有物質(zhì)層面的自在性,又具有精神層面的想象性�！皣�(guó)家形象”用作一種影像批評(píng)工具,能夠重新闡釋各類(lèi)紀(jì)錄片的社會(huì)價(jià)值,因而紀(jì)錄片儼然成了國(guó)家會(huì)客廳的影像式在場(chǎng),通過(guò)在影像空間與現(xiàn)實(shí)社會(huì)之間擺渡、互動(dòng)、平衡,形塑了國(guó)際交流感知狀態(tài)。紀(jì)錄片需要不斷回歸復(fù)雜的社會(huì)與現(xiàn)實(shí)的人,從而促使這種影像交流空間的形象敘述更加地客觀和可信,需要與影像的其他類(lèi)別功能形成有效對(duì)話(huà),以帶動(dòng)國(guó)家會(huì)客廳影像式在場(chǎng)的多樣和完善。
[Abstract]:In the modern family, the living room is an important space to display the image of the family, while the documentary film plays the role of the national hall in the world communication by handling the reality creatively and presenting the image of the nation state in various dimensions. The national image created by documentary film and the whole nation has the same structure. They have both the freedom of material level and the imagination of spirit level. As a tool of image criticism, "National Image" can reinterpret the social value of all kinds of documentaries. Thus, documentaries have become the video scene of the National Assembly Room, which interacts by ferrying between the image space and the real society. Balance, shape the state of perception of international communication. Documentaries need people who are constantly returning to the complex society and reality, so that the image narration of this video communication space is more objective and credible, and needs to form an effective dialogue with other functions of the image. In order to promote the National Assembly living room video scene of the diversity and perfection.
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本文編號(hào)：2121079