本文選題：紀(jì)錄片 + 敘事　； 參考：《山東師范大學(xué)》2017年碩士論文

【摘要】：紀(jì)錄片自誕生之日起就以真實(shí)記錄作為最主要的創(chuàng)作方式,在結(jié)構(gòu)和敘事方面存在著很大的問題,這導(dǎo)致其敘事平緩、單一、沉悶。在電影商業(yè)化生產(chǎn)、傳播的大背景下,紀(jì)錄片進(jìn)行了大量的創(chuàng)作改革,在改革中紀(jì)錄片獲得了更多的價(jià)值體現(xiàn),但是如何使紀(jì)錄片獲得長(zhǎng)久的生命力成為許多紀(jì)錄片編導(dǎo)所關(guān)心的問題。在這個(gè)問題的驅(qū)動(dòng)之下,學(xué)術(shù)界將故事化引入到紀(jì)錄片的創(chuàng)作當(dāng)中來,故事化敘事成為了紀(jì)錄片敘事的一種表現(xiàn)方式。紀(jì)錄片故事化敘事方法成為當(dāng)下紀(jì)錄片創(chuàng)作的一種慣用手法,并且正在影響著傳統(tǒng)紀(jì)錄片的敘事理念。紀(jì)錄片創(chuàng)作中的故事化運(yùn)用使得紀(jì)錄片產(chǎn)生了強(qiáng)大的生命力,而懸念設(shè)置作為故事化的一項(xiàng)重要手段越來越受到創(chuàng)作者的親賴。懸念是起源于戲劇學(xué)中的一種引起觀眾觀看興趣的方式,懸念產(chǎn)生的機(jī)制在于調(diào)動(dòng)觀眾的主觀性,使之參與到事件的發(fā)展過程中來,從而引起觀眾的觀看興趣。將懸念從故事片引用到紀(jì)錄片中會(huì)起到很大的刺激作用,使紀(jì)錄片變得更加精彩,敘事更加生動(dòng),從而增強(qiáng)觀眾對(duì)紀(jì)錄片的觀影興趣。筆者通過大量的研究和思考,通過實(shí)踐創(chuàng)作中的具體案例發(fā)現(xiàn),在紀(jì)錄片故事化敘事的過程中,懸念這一手段是最具有戲劇效果的,也最能夠抓住觀眾的心理情緒變化。筆者親歷創(chuàng)作的畢業(yè)作品紀(jì)錄片《袖珍人》和《第一個(gè)蘋果》作為研究的案例,總結(jié)出關(guān)于紀(jì)錄片敘事過程中的懸念設(shè)置的機(jī)制研究,具有一定的理論和實(shí)踐意義。本論文從紀(jì)錄片創(chuàng)作中懸念設(shè)置的類別以及懸念設(shè)置的原則和機(jī)制進(jìn)行研究,運(yùn)用了文獻(xiàn)分析、個(gè)案研究和創(chuàng)作實(shí)踐這三種研究方法,從不同的角度和層次來對(duì)紀(jì)錄片創(chuàng)作中的懸念設(shè)置進(jìn)行了深入的學(xué)理和實(shí)踐研究。論文首先介紹了本文研究的背景、意義,梳理了國(guó)內(nèi)外對(duì)于紀(jì)錄片中懸念設(shè)置這一問題的研究現(xiàn)狀,分析了存在的問題,提出了對(duì)于紀(jì)錄片懸念設(shè)置的觀點(diǎn)和看法。其次,闡述了論文的理論基礎(chǔ),其中包括戲劇學(xué)敘事理論、盧森塔爾效應(yīng)、希區(qū)柯克懸念理論等,進(jìn)而運(yùn)用實(shí)踐經(jīng)驗(yàn)分析懸念設(shè)置是如何建立起來的,由此提出懸念設(shè)置的原則和機(jī)制。第三,探討了紀(jì)錄片故事化敘事中懸念設(shè)置的類型及其作用,指出紀(jì)錄片懸念主要有細(xì)節(jié)懸念、結(jié)構(gòu)懸念、主題懸念三大類,懸念具有增強(qiáng)紀(jì)錄片故事化敘事節(jié)奏、深化紀(jì)錄片主題、提高傳播效果的作用。第四,結(jié)合親身創(chuàng)作的作品《袖珍人》,闡明了紀(jì)錄片懸念設(shè)置的原則和技巧、存在的問題以及設(shè)置誤區(qū),總結(jié)出懸念設(shè)置的基本原則為真實(shí)性和主觀性,四種懸念設(shè)置的方法:片名法、倒敘法、交叉法和矛盾法。第五,主要是對(duì)本研究做一總結(jié),指出本文研究的結(jié)果和不足,在論證中結(jié)合自身創(chuàng)作實(shí)踐使理論與實(shí)踐相結(jié)合,使本文的理論研究能夠在實(shí)踐中得到檢驗(yàn),進(jìn)而對(duì)紀(jì)錄片創(chuàng)作中的懸念設(shè)置研究做出前景展望。
[Abstract]:Since the birth of documentary film, the real record has been the most important way of creation. There are many problems in structure and narrative, which leads to its smooth, single and dull narration. In the background of commercial production and dissemination of films, documentary films have carried out a lot of creative reforms, in which documentaries have gained more value. However, how to make documentaries obtain long-term vitality has become the concern of many documentary directors. Driven by this problem, the academic circles introduce the story into the documentary creation, and the story narration becomes a kind of expression of documentary narration. The narrative method of documentary story has become a traditional method of documentary creation, and it is influencing the narrative idea of traditional documentary. The use of story in documentary creation makes documentary produce strong vitality, and suspense setting as an important means of story making is more and more popular among creators. Suspense is a way of arousing the audience's interest in drama. The mechanism of suspense is to arouse the subjectivity of the audience and make it participate in the development of the event, thus arousing the audience's interest in watching. Quoting suspense from feature films to documentaries will play a very important role in stimulating the documentaries, making the documentaries more exciting and narrative more vivid, thus enhancing the audience's interest in watching the documentaries. Through a lot of research and thinking, the author finds that suspense is the most dramatic method in the process of documentary story narration, and it is also the most able to grasp the psychological and emotional changes of the audience. The documentary documentary "pocket Man" and "the first Apple" created by the author personally as a case study, summarizes the mechanism of suspense setting in the process of documentary narration, which has certain theoretical and practical significance. This paper studies the categories of suspense settings and the principles and mechanisms of suspense settings in documentary creation, and applies three research methods: literature analysis, case study and creative practice. In this paper, the suspense in documentary creation is studied from different angles and levels. Firstly, this paper introduces the background and significance of this study, combs the domestic and foreign research status of suspense setting in documentary, analyzes the existing problems, and puts forward the viewpoints and views on suspense setting of documentary. Secondly, it expounds the theoretical basis of the thesis, including drama narrative theory, Lucenthal effect, Hitchcock suspense theory and so on, and then uses practical experience to analyze how the suspense setting is established. Therefore, the principle and mechanism of suspense setting are put forward. Thirdly, it discusses the types and functions of suspense setting in the narrative of documentary story, and points out that there are three main categories of suspense in documentary, including detail suspense, structural suspense and thematic suspense. Suspense can enhance the narrative rhythm of documentary story. Deepen the theme of documentary, improve the effect of communication. Fourthly, combined with the personal creation of "pocket Man", this paper clarifies the principles and skills of suspense setting, the existing problems and misunderstandings, and concludes that the basic principles of suspense setting are authenticity and subjectivity. Four methods of suspense setting: title method, flashback method, cross method and contradiction method. Fifthly, it mainly summarizes the research, points out the results and shortcomings of this study, combines the theory and practice with its own creative practice in the argumentation, so that the theoretical research in this paper can be tested in practice. Then the prospect of suspense setting in documentary creation is prospected.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J952

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