中国独立纪录片作品《铁西区》文本解读

发布时间：2018-02-26 05:14

本文关键词： 《铁西区》中国独立纪录片全知视点　出处：《厦门大学》2014年硕士论文　论文类型：学位论文

【摘要】：2000年8月9日,铁西区特大型国有企业正式宣布破产。这个修建于20世纪30年代的工业区曾经成就了无数辉煌,而如今由于它的长期亏损导致的倒闭引发了一系列的连锁反应,最直接的莫过于一百万工人的失业。1999年末,中国独立记录制片人王兵带着一台DV走进铁西区,历时18个月的拍摄和18个月的剪辑,以铁路为贯穿全片的主线、以铁西区的3个工厂为主人公的《铁西区》诞生,此片作为中国独立纪录片成熟时期的代表作品,又是一部记录中国社会历史变革的影视作品,因此在中国独立纪录片史上具有重要的研究价值。本文以《铁西区》为研究对象,通过文本细读的手法,从叙事学、美学、电影符号学等角度对铁西区进行解构,并从形式感和哲理性两个方面对《铁西区》的文本成因进行了探讨。研究发现,王兵在拍摄《铁西区》时恪守着高度不干涉主义原则,将个人的拍摄模式放置在直接电影的教条之中,把“墙上的苍蝇”式的拍摄手法发挥到了极致。片中出现大量的长镜头、多角度的视点转换以及作者严格的自我消隐体现出了王兵对形式感的刻意追求,也反映了他试图还原完整历史时空的全知式野心。通过分析得出,王兵的全知式野心一方面来源于全知视点的特性和《铁西区》题材的契合,另一方面在于王兵早期在电影学院学习过程中受到的世界电影大师的影响。另外,本文还分析了铁西区中不同的个体和群体在现实面前的矛盾体现,阐释了铁西区所有人对周遭环境的麻木根源于中国传统农耕伦理文化。最后,本文还从社会、技术、政治与市场等角度分析了《铁西区》产生的时代背景和与社会环境的联系。媒介技术的发展催生了DV,社会化纪录片时期的到来呼吁更加关注现实主流社会的作品,而政治与市场的博弈最终导致铁西区成为时代前行中的牺牲品。
[Abstract]:In August 9th 2000, a large state-owned enterprise in Tiexi officially declared bankruptcy. The industrial zone, which was built in 1930s, has made numerous achievements, but now the collapse caused by its long-term losses has triggered a series of chain reactions. The most immediate is the unemployment of 1 million workers. In end of 1999, Chinese independent record producer Wang Bing walked into Tiexi with a DV, which lasted 18 months of filming and 18 months of editing, with the railway as the main line throughout the film. Tiexi, with three factories in Tiexi as the protagonist, was born. As a representative of the mature period of China's independent documentary, this film is also a film and television work recording the social and historical changes in China. Therefore, it has important research value in the history of independent documentary in China. Taking Tiexi as the object of study, this paper deconstructs Tiexi from the angles of narratology, aesthetics, film semiotics and so on. The text causes of Tiexi are discussed in terms of sense of form and philosophy. It is found that Wang Bing adheres to the principle of high non-interventionism when filming Tiexi. Put personal shooting mode in the dogma of direct film, and put the "fly on the wall" style to the extreme. There are a lot of long shots in the film. The multi-angle change of view and the author's strict self-elimination reflect Wang Bing's deliberate pursuit of the sense of form, as well as his omniscient ambition of trying to restore a complete historical space and time. Wang Bing's omniscient ambition originates from the agreement of the characteristics of the omniscient viewpoint with the theme of Tiexi on the one hand, and the influence of the world film masters on Wang Bing's early study at the Film Academy on the other. This paper also analyzes the contradictory embodiment of different individuals and groups in Tiexi, and explains that the numbness of all people in Tiexi to the surrounding environment is rooted in the traditional Chinese agricultural ethics culture. Finally, this article also from the society, the technology, From the angle of politics and market, this paper analyzes the background of "Tiexi" and its connection with social environment. The development of media technology gave birth to DVV, and the coming of social documentary called for paying more attention to the works of the mainstream society. The game between politics and market led Tiexi to become the victim of the times.
【学位授予单位】：厦门大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J952

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