何以興盛：中國(guó)參與式影像十年發(fā)展研究（2003-2012）
發(fā)布時(shí)間：2018-07-22 20:32
【摘要】：本文的研究對(duì)象參與式影像(Participatory Video),是一種以影像為表達(dá)方式的社會(huì)介入方法,起源于1967年加拿大“福古島”程式,其后被國(guó)際非政府組織廣泛使用。參與式影像項(xiàng)目一般由非政府組織開(kāi)展,協(xié)助社區(qū)成員使用影像紀(jì)錄社區(qū),并在拍攝過(guò)程中組織影像的本地放映,以激發(fā)社區(qū)討論、形成社區(qū)共識(shí),促進(jìn)社區(qū)民眾教育與社區(qū)運(yùn)動(dòng)。參與式影像在一定程度上說(shuō),由社區(qū)集體創(chuàng)作,這種方式具有賦權(quán)弱勢(shì)群體、促進(jìn)民眾參與、引發(fā)社區(qū)交流、解決社區(qū)事務(wù)等作用,最終在社區(qū)內(nèi)部形成力量推動(dòng)社區(qū)發(fā)展。 中國(guó)改革開(kāi)放以后,經(jīng)濟(jì)增長(zhǎng)、貧富分化,社會(huì)沖突日益加劇。GDP的年年攀升之下,是普通民眾面對(duì)主流媒體時(shí)的壓抑與沉默。在新紀(jì)錄運(yùn)動(dòng)中,國(guó)內(nèi)獨(dú)立紀(jì)錄片人將目光轉(zhuǎn)向了處于弱勢(shì)的邊緣群體,試圖代替他們向社會(huì)發(fā)聲,而這也不可避免地帶來(lái)了精英式的思考。到了21世紀(jì)初,新紀(jì)錄運(yùn)動(dòng)發(fā)生了變化,一部分紀(jì)錄片人開(kāi)始自我反思,試圖將話語(yǔ)權(quán)交給群體本身,而DV的普及與相對(duì)低廉的價(jià)格,為這種嘗試提供了可能；同時(shí)西南山地在20世紀(jì)末開(kāi)始進(jìn)行的環(huán)境與生物的多樣性保護(hù)項(xiàng)目,在21世紀(jì)開(kāi)始使用參與式影像,拉開(kāi)了中國(guó)參與式影像發(fā)展的序幕。2003年首屆云之南紀(jì)錄電影展開(kāi)幕,首次對(duì)參與式影像項(xiàng)目單獨(dú)進(jìn)行了討論,為該影展日后對(duì)中國(guó)參與式影像發(fā)展的推動(dòng)埋下了伏筆。 本文對(duì)參與式影像的國(guó)外發(fā)展軌跡進(jìn)行整理,并探究中國(guó)參與式影像從21世紀(jì)初到2003年之間的發(fā)端跡象。文章選取了2003年為起點(diǎn),以2012年為終點(diǎn),對(duì)中國(guó)參與式影像2003-2012十年間的發(fā)展過(guò)程進(jìn)行了梳理。通過(guò)資料的搜集與分析得出參與式影像的十年發(fā)展呈現(xiàn)出兩個(gè)階段：靜無(wú)波瀾的第一階段(2003-2004)與主體漸顯的第二階段(2005-2012)。第一階段以參與式影像項(xiàng)目為研究對(duì)象,探究它們所表現(xiàn)出來(lái)的價(jià)值。第二階段中中國(guó)參與式影像主體逐步顯露,通過(guò)對(duì)發(fā)展中形成的不同項(xiàng)目熱點(diǎn)進(jìn)行整理分析,勾勒出參與式影像的發(fā)展過(guò)程、熱點(diǎn)與狀況,并總結(jié)出它們基于本土環(huán)境所體現(xiàn)出來(lái)的特征。 文章基于對(duì)中國(guó)參與式影像十年發(fā)展的梳理,嘗試探尋其發(fā)展的主要推動(dòng)力。在發(fā)展的前期階段,新技術(shù)的廣泛普及中國(guó)獨(dú)立紀(jì)錄片的觀念轉(zhuǎn)變成為了主要原因與推動(dòng)力量；在中后期的持續(xù)發(fā)展中,國(guó)內(nèi)的民間力量與國(guó)外力量的支持起了不可或缺的作用；而促進(jìn)參與式影像發(fā)展的更深層次的原因,則在于處于社會(huì)轉(zhuǎn)型期的中國(guó)社會(huì)環(huán)境下,民眾表達(dá)意識(shí)的覺(jué)醒形成了一股民間力量,這股發(fā)自底層的內(nèi)部力量成為了中國(guó)參與式影像興盛的深層原因。
[Abstract]:The object of this paper is participatory Video, a method of social intervention based on image expression. It originated from the "Fukuo Island" program of Canada in 1967 and has been widely used by international non-governmental organizations. Participatory imaging projects are generally carried out by non-governmental organizations to assist community members in using images to record the community and to organize local screenings of images during filming to stimulate community discussions and build community consensus. To promote community education and community movement. To a certain extent, participatory images are created by the community collectively, which has the functions of empowering the disadvantaged groups, promoting the participation of the people, causing community exchanges, solving community affairs, and finally forming a force to promote the development of the community within the community. After China's reform and opening up, the economic growth, the polarization between the rich and the poor, and the increasing social conflict. The GDP is rising year by year, which is the repression and silence of the ordinary people in the face of the mainstream media. In the new record movement, independent documentaries in China turned their attention to the marginalized groups in the weak position and tried to speak for them, which inevitably brought elitist thinking. At the beginning of the 21st century, the new record movement changed, some documentaries began to reflect on themselves, trying to give the right to speak to the group itself, but the popularity of DV and the relatively low price provided the possibility for this kind of attempt; At the same time, the environmental and biological diversity conservation project that began in the Southwest Mountain region at the end of the 20th century, began to use participatory images in the 21st century, opening the first Yunzhinan documentary Film Festival in 2003, which opened the prologue of China's participatory image development. The participatory image project was discussed separately for the first time, which laid the groundwork for the future development of participatory image in China. This paper deals with the foreign development of participatory images and explores the early signs of China's participatory images from the beginning of the 21st century to the year 2003. Taking 2003 as the starting point and 2012 as the end point, the paper combs the development process of China's participatory image from 2003 to 2012. Through the data collection and analysis, it is concluded that there are two stages in the 10-year development of participatory images: the first stage (2003-2004) and the second stage (2005-2012). In the first stage, the participatory image project is taken as the research object to explore their value. In the second stage, the main body of participatory image in China is revealed step by step. Through the arrangement and analysis of different project hotspots formed in the course of development, the development process, hot spot and status of participatory image are outlined. They are based on the characteristics of the local environment. Based on the ten-year development of China's participatory image, this paper tries to explore the main driving force of its development. In the early stage of development, the concept of extensive popularization of new technologies in China's independent documentaries has become the main cause and driving force; in the middle and later period of sustained development, The support of domestic and foreign forces has played an indispensable role, and the deeper reason for promoting participatory image development lies in the Chinese social environment in the period of social transition. The awakening of public expression consciousness has formed a force among the people, and this internal force from the bottom has become the deep reason for the prosperity of China's participatory image.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J952
本文編號(hào)：2138487
[Abstract]:The object of this paper is participatory Video, a method of social intervention based on image expression. It originated from the "Fukuo Island" program of Canada in 1967 and has been widely used by international non-governmental organizations. Participatory imaging projects are generally carried out by non-governmental organizations to assist community members in using images to record the community and to organize local screenings of images during filming to stimulate community discussions and build community consensus. To promote community education and community movement. To a certain extent, participatory images are created by the community collectively, which has the functions of empowering the disadvantaged groups, promoting the participation of the people, causing community exchanges, solving community affairs, and finally forming a force to promote the development of the community within the community. After China's reform and opening up, the economic growth, the polarization between the rich and the poor, and the increasing social conflict. The GDP is rising year by year, which is the repression and silence of the ordinary people in the face of the mainstream media. In the new record movement, independent documentaries in China turned their attention to the marginalized groups in the weak position and tried to speak for them, which inevitably brought elitist thinking. At the beginning of the 21st century, the new record movement changed, some documentaries began to reflect on themselves, trying to give the right to speak to the group itself, but the popularity of DV and the relatively low price provided the possibility for this kind of attempt; At the same time, the environmental and biological diversity conservation project that began in the Southwest Mountain region at the end of the 20th century, began to use participatory images in the 21st century, opening the first Yunzhinan documentary Film Festival in 2003, which opened the prologue of China's participatory image development. The participatory image project was discussed separately for the first time, which laid the groundwork for the future development of participatory image in China. This paper deals with the foreign development of participatory images and explores the early signs of China's participatory images from the beginning of the 21st century to the year 2003. Taking 2003 as the starting point and 2012 as the end point, the paper combs the development process of China's participatory image from 2003 to 2012. Through the data collection and analysis, it is concluded that there are two stages in the 10-year development of participatory images: the first stage (2003-2004) and the second stage (2005-2012). In the first stage, the participatory image project is taken as the research object to explore their value. In the second stage, the main body of participatory image in China is revealed step by step. Through the arrangement and analysis of different project hotspots formed in the course of development, the development process, hot spot and status of participatory image are outlined. They are based on the characteristics of the local environment. Based on the ten-year development of China's participatory image, this paper tries to explore the main driving force of its development. In the early stage of development, the concept of extensive popularization of new technologies in China's independent documentaries has become the main cause and driving force; in the middle and later period of sustained development, The support of domestic and foreign forces has played an indispensable role, and the deeper reason for promoting participatory image development lies in the Chinese social environment in the period of social transition. The awakening of public expression consciousness has formed a force among the people, and this internal force from the bottom has become the deep reason for the prosperity of China's participatory image.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J952
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