發(fā)布時(shí)間：2019-01-11 09:14

【摘要】：1922年,美國導(dǎo)演弗拉哈迪的《北方的納努克》開始公映,從此它就被公認(rèn)是世界上的第一部紀(jì)錄片。法國的評(píng)論家們給予了高度評(píng)價(jià),將其與古希臘戲劇相提并論,人類的影像世界因而被劃分成了兩個(gè)截然不同的領(lǐng)域：真實(shí)紀(jì)錄的紀(jì)錄片和虛擬劇情的故事片。1 在中國新世紀(jì)的第一個(gè)十年,以英國廣播公司為代表的海外紀(jì)錄片大量引進(jìn)中國,讓中國紀(jì)錄片領(lǐng)域花樣翻新、創(chuàng)新不斷。最為突出的是“真實(shí)再現(xiàn)”這一表現(xiàn)手法向前邁進(jìn)了一步,搬演的尺度得到極大拓展,出現(xiàn)了大量的人物對(duì)話,劇情再現(xiàn)的使用也越來越多,因此“真實(shí)再現(xiàn)”也就受到了更多的關(guān)注和重視。 本文以《追蹤埃及迷城》為例,從人物的扮演、人物的形象還原、場景的還原以及歷史地點(diǎn)的還原和對(duì)比等方面來解析這部紀(jì)錄片的真實(shí)再現(xiàn)手法。同時(shí),該片中的真實(shí)再現(xiàn)具有某些主觀的情感因素,從而可能導(dǎo)致不真實(shí),與紀(jì)錄片“真實(shí)性”的原則相悖。筆者試圖在相應(yīng)的分析中闡述自己對(duì)“真實(shí)再現(xiàn)”手法的理解、以及“真實(shí)再現(xiàn)”手法在今后的發(fā)展態(tài)勢(shì)。 在歷史題材的紀(jì)錄片中,如何將逝去的歷史還原,這是一個(gè)大問題,而“真實(shí)再現(xiàn)”不僅可以在一定程度上彌補(bǔ)這個(gè)缺憾,還原缺失的影像資料,同時(shí)還容易吸引觀眾走進(jìn)紀(jì)錄片中,具象地去感受曾經(jīng)的歷史,從而獲得形象的歷史知識(shí)。當(dāng)然,如果一味地追求畫面的豐富、情節(jié)的跌宕起伏和人物感情的渲染,勢(shì)必影響到紀(jì)錄片的真實(shí)性。這是真實(shí)再現(xiàn)手法與紀(jì)錄片的真實(shí)性之間必須把握好的度。
[Abstract]:In 1922, American director Flahatti's "Nanook of the North" was released, and it has been recognized as the world's first documentary ever since. French critics praised it highly, comparing it to ancient Greek drama. The world of human images is thus divided into two distinct areas: documentaries with real records and feature films with virtual plots. 1 in the first decade of the new century in China, Overseas documentaries, represented by the British Broadcasting Corporation (BBC), have been introduced into China in a large number, making Chinese documentaries innovative and innovative. The most outstanding is that the expression of "real representation" has taken a step forward, the scale of moving performance has been greatly expanded, a large number of character dialogues have emerged, and the use of plot reappearance has been increasing. Therefore, "real reproduction" has also been paid more attention and attention. In this paper, the author takes tracing Egypt's lost City as an example to analyze the true reappearance of the documentary from the aspects of personage, image restoration, scene restoration and historical location restoration and comparison. At the same time, the reappearance of reality in the film has some subjective emotional factors, which may lead to untruth, contrary to the principle of documentary "authenticity". In the corresponding analysis, the author tries to expound his understanding of the "real reappearance" technique and the development trend of the "real reappearance" technique in the future. In historical documentaries, how to restore the lost history is a big problem, and "true reproduction" can not only make up for this shortcoming, but also restore the missing image materials. At the same time, it is easy to attract the audience into the documentary, feel the history of the past concretely, so as to gain historical knowledge of the image. Of course, if we blindly pursue the rich picture, the plot ups and downs and the rendering of the characters' feelings, it will inevitably affect the authenticity of the documentary. This is the true reappearance technique and the documentary's authenticity must grasp the degree.
【學(xué)位授予單位】：云南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J952

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