新保加利亚纪录片

发布时间：2018-07-02 07:13

本文选题：巴尔干人 + 政治宣传　；参考：《北京电影学院学报》2017年02期

【摘要】：虽然与邻居罗马尼亚人、塞尔维亚人、希腊人或土耳其人在纪录片领域的成就并不能相提并论,但保加利亚人在这个领域确实也小有所成。在共产主义时期,作为政治宣传工具的纪录片获得了丰厚的资金;而在1990年以后,虽然政府制片厂不再控制这类常常引起争议的"委托电影"的生产,但资金急剧减少和制片厂的逐渐消失使得电影人们并不能享受真正的创作自由。尽管在20世纪90年代因为廉价视频设备的快速普及带来的制片繁荣举世瞩目,但对于处在转型期的国家而言,只有新出现的私营电视台能提供工作,适应这一体制并恢复纪录片的生产需要花费时间。保加利亚的纪录片复兴始于2000年以后,部分归功于一些成名导演,但新晋年轻导演们却功不可没。最重要的是,这种类型在当代的语境中明确地表现为试图离开某种特定的地方风格,并处理属于更广泛的现实的主题。这些年轻的电影人得以通过用客观性和幽默取代悲伤来创新。这便是典型的保加利亚式的自嘲和巴尔干盛产的黑色幽默。
[Abstract]:Although not comparable to the success of neighboring Romanians, Serbs, Greeks or Turks in documentaries, Bulgarians do have a small success in this field. During the communist era, documentaries, as a tool of political propaganda, were well funded; and after 1990, although government studios no longer controlled the often controversial production of "commissioned films," But a sharp decline in money and a gradual disappearance of studios have made it impossible for people to enjoy real freedom of creation. Although the boom in film production was remarkable in the 1990s because of the rapid spread of cheap video equipment, for countries in transition, only new private television stations can provide jobs. Adapting to the system and resuming production of documentaries will take time. Bulgaria's documentary revival began in 2000, thanks in part to famous directors, but new young directors. Most importantly, this type is clearly expressed in the contemporary context as an attempt to move away from a particular local style and to deal with themes that belong to a wider range of realities. These young filmmakers were able to innovate by replacing sadness with objectivity and humor. This is typical Bulgarian self-deprecation and Balkan black humor.
【作者单位】：罗马尼亚艺术史研究院;布加勒斯特亥伯龙神大学电影学系;耶鲁大学东亚语文学系;
【分类号】：J952

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