“沉默的对话”：中国独立纪录片创作与批评关系探析

发布时间：2018-01-20 22:34

本文关键词： 独立纪录片创作批评接受美学　出处：《安徽大学》2014年硕士论文　论文类型：学位论文

【摘要】：纪录片,作为最具魅力的艺术样式,我们得以从中剖析现实、认识世界。本文的研究对象是独立纪录片,它是上世纪80年代末90年代初的社会变革与转型的产物,一直以一种入世的态度同社会保持着密切的联系,发出不同于官方意识形态的个性化声音。它用理性和批评表征人文关怀,直面社会现实的每一个角落,自下而上地表达了普通阶层民众的生存诉求及情感方式,成为中国纪录片版图上不可或缺的一部分。中国独立影像年度展(CIFF)是中国独立影像迷的盛会,它诞生于2003年,是综合性独立影像活动。CIFF以其选片和评奖的权威性,在国内外的专业领域内产生了重要影响。但就在2011年的第八届中国独立影像年度展的最后一天,南京大学新闻传播学院举办的《政治、伦理与美学：中国独立纪录片之路》的论坛引发了一场关于独立纪录片创作与批评关系的规模化探讨。一些纪录片导演在南京大学的墙壁上贴出名为“萨满动物”的标语,即“南京宣言”,用以直接表达对批评界的不满。这就引发了本论文的核心问题：中国独立纪录片创作与批评处于什么样的关系?对此,笔者以“南京宣言”事件为切入点,通过详细的资料分析,还原南京论坛现场引发的创作与批评争议的几个核心问题,并通过对纪录片导演毛晨雨的访谈,笔者大胆提出猜想：独立纪录片创作与批评二者之间是“沉默的对话”。这里的“沉默的对话”的含义主要是指二者的关系是疏离的,长时间在各自的领域中自说自话,没有形成一个平衡的对话机制。南京论坛的现场就像是创作与批评的博弈场,相关的探讨从文学到电影,历来有之,从未间断。那么在独立纪录片领域又会呈现出什么新的特征?这种批评与创作关系的博弈是偶然还是必然?这需要纵向梳理整个独立纪录片发展历程,明晰独立纪录片创作与批评各自的形态特征。早期的独立纪录片处境是艰难的,尽管在国外频频获奖,但在国内几乎没有有效的传播方式,基本处于“地下”状态,到90年代末,这一困境得到了有效改观,而DV的出现,更是促使了独立纪录片走向蓬勃与多元。如今,经过20多年的发展,独立纪录片已经初具规模,近几年独立纪录片题材日渐丰富,叙事方式不断成熟,无论是数量还是质量都有显著的提升。而独立纪录片批评界则以学院式理论批评为主体,以伦理道德批评、社会现实批评为主要批评模式,力图建立自身独立话语来反思当下纪录片创作情况。但独立纪录片的“地下性”直接导致其在传播与流通上一度处于隐秘状态,基本脱离了大众传播的轨道,批评界对这一另类影像的关注不具有普遍性,而仅有的独立影像批评却又在自我身份书写与西方理论阐释中充满着矛盾与不安。从创作与批评自身特点来看,二者的疏离实是必然,是源于各自发展路径中的某些硬伤以及二者之间的不平衡的对话机制。如何改善创作与批评两者之间的关系,如何帮助两者走向“破冰之路”,除了创作与批评双方各自的努力之外,本文则试图提出一种新的视角,借用“接受美学”理论,以强调受众的主体性地位来试图对独立纪录片创作与批评“两张皮”的局面进行反思。作为独立纪录片传播结构网中的重要因素,受众的主体性地位却被长久地忽略掉了。在独立纪录片中,受众的期待视野可以对影像进行建构,其空白的想象可以对影像进行润色,创作者与受众是存在某种供需关系的,而批评界也可以尝试与受众形成某种无等差的对话而帮助确立自身话语。受众视角的重拾并不意味着可以一劳永逸地解决创作与批评的矛盾与争议,但这另一维度的思考能够帮助创作与批评反省自身,从而为创作与批评的有效对话提供中介与渠道,缓解二者之间的紧张情绪,为二者从“沉默”走向“对话”提供某种可能。
[Abstract]:The documentary, as one of the most attractive art style, we can analyze the reality, from the understanding of the world. The research object of this paper is the independent documentary, it is a product of the end of 80s and early 90s social change and transformation of the last century, has been a WTO attitude with the community to maintain close contact with a different personalized voice in the official ideology. It rational criticism and characterization of humanistic care, to every corner of the social reality, bottom-up expression existenceclaim and emotional way of ordinary class people, become an indispensable part of China documentary version on the map.
The annual Chinese Independent Film Festival (CIFF) is Chinese many independent film festival, it was born in 2003, is an independent comprehensive image.CIFF activities in its authority and selection of the award, the professional field at home and abroad has the important influence. But in 2011 the eighth session of the China Independent Film Festival. At the end of the day, held at Nanjing University School of Journalism and communication: politics, ethics and aesthetics Chinese independent documentary road > forum sparked a discussion about the relations between the independent documentary creation and criticism. Some large-scale documentary director at the Nanjing University on the walls of the famous "Shaman animal" slogan, namely "Nanjing Declaration" on the criticism, to dissatisfaction with the direct expression. This raises the core issue of this paper: what is the relationship between creation and criticism in the independent documentary Chinese? In this regard, the "Nanjing declaration". For the entry point, through a detailed analysis of the data, the creation and criticism of the controversial core problems caused by the reduction of the Nanjing forum site, and through the documentary director Mao Chenyu interview, the author put forward a bold conjecture: between independent documentary creation and criticism of the two is the "silent dialogue". Here the "silent dialogue" meaning mainly refers to the relationship between the two is alienated, long time in their respective fields of talking, did not form a balanced dialogue mechanism.
The scene is like the Nanjing forum is the game field of creation and criticism, the study from literature to film, always have, never stopped. Then in the documentary field showing what new features? This game between criticism and creation is accidental or inevitable? The need to sort out the whole longitudinal independent documentary film development course. Clear the independent documentary creation and criticism of their morphological characteristics.
The early independent documentary situation is difficult, even in foreign countries has been winning. But in China there is almost no effective means of communication, basically in the "underground" state, to the end of 90s, this dilemma has been effectively improved, and the emergence of DV, more is to promote the independent documentary to vigorous and diverse. Now, after 20 years of development, the independent documentary has begun to take shape, in recent years the independent documentary narrative theme is rich, mature, both in quantity and quality have been improved significantly. And the independent documentary criticism in school theory criticism as the main body, the moral criticism, criticism of social reality as the main mode of criticism, to establish their own independent words to reflect on the creation of the documentary. But independent documentary "underground" directly resulted in their communication and circulation once in a hidden state, basically out The mass media of the track, the criticism of this offbeat image attention is not universal, and independent image criticism but only in self identity and the western theory is full of contradictions and uncertainty. Based on its own characteristics of creation and criticism, the two real alienation is inevitable, is derived from the some mishap in the path of their development as well as the two mechanism for dialogue imbalance.
How to improve the relationship between writing and criticism, how to help both to the "ice road", in addition to the creation and criticism of their own efforts, this paper tries to put forward a new perspective, use of "reception aesthetics" theory of reflection to subjectivity emphasizes the audience to try to independent documentary film creation and criticism "two skins" situation. As an important factor of independent documentary structure of communication network, the audience's body position has been long ignored. In the independent documentary film, the audience's horizon of expectations can be the construction of images, the blank imagination can polish the image, the creator and audience there is a supply and demand the relationship between, while critics and audience can also try to form a universal dialogue and help establish their own discourse. Regain audience perspective does not mean one for good To solve the contradiction and dispute of creation and criticism, but thinking that another dimension can help the creation and criticism of self reflection, and for the creation and criticism of effective dialogue and provide intermediary channels, ease the tension between the two, two people from the "silent" to "dialogue" to provide a possible.

【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J952

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