本文選題：紀錄片 + 懷斯曼　； 參考：《浙江師范大學》2013年碩士論文

【摘要】：紀錄片與社會的發(fā)展變化緊密相連,它不僅記錄了一個國家的歷史,也承載了一個民族的文化。一方面,它忠實地記錄著社會的方方面面,大到政治經(jīng)濟風云,小到凡人小事,作為時代檔案發(fā)揮著獨特的社會功能；另一方面,社會對文化的多元化需求,也推動著紀錄片在觀念、內(nèi)容、形式上的加速變革。 本文選取了紀錄片大師弗雷德里克·懷斯曼及其若干具有代表性的紀錄片作品作為研究對象,對其創(chuàng)作風格的形成,創(chuàng)作內(nèi)容、創(chuàng)作形式以及作品對現(xiàn)當代的影響等方面展開深入的剖析和探討。 首先,通過分析上世紀60年代新現(xiàn)實主義電影運動、巴贊的紀實性電影美學理論等文化背景,以及被拍攝對象所處的社會外部環(huán)境,探討懷斯曼紀錄片創(chuàng)作觀念的形成同紀錄片美學思潮的演變和社會歷史環(huán)境兩方面之間的關(guān)聯(lián)；其次,針對懷斯曼紀錄片作品的內(nèi)容,分別從社會、個人、生命等三方面作為研究切入點,從多視角探討紀錄片在揭示人與人之間、人與社會之間復雜關(guān)系的表現(xiàn)功能,重點研究懷斯曼紀錄片的對生命的關(guān)懷與反思主題；第三,通過分析懷斯曼創(chuàng)作過程,探討其旁觀美學的特征,以及如何運用隱喻和印象式畫面,深化和延展紀錄片主題的創(chuàng)作手法。在上述研究的基礎(chǔ)上,著重探討了懷斯曼紀錄片對中國紀錄片美學思潮的影響以及其獨特的創(chuàng)作風格在中國的具體實踐,介紹了我國以“直接電影”旁觀美學特征為風格的紀錄片創(chuàng)作進程,以及這些紀錄片對中國紀錄片創(chuàng)作的發(fā)展和變革的引領(lǐng)作用。 在二十一世紀的今天,中國文化與國際文化交流頻繁,借鑒國外的創(chuàng)作模式和創(chuàng)作手法,可更好的促進我國紀錄片向多元化發(fā)展,引導我們的紀錄片更多的關(guān)注對社會、人生、生命的思考,也是將我國紀錄片融入國際社會的一個良好途徑。
[Abstract]:Documentary film is closely related to the development and change of society. It not only records the history of a country, but also carries the culture of a nation. On the one hand, it faithfully records all aspects of society, ranging from political and economic events to minor human affairs, which play a unique social role as archives of the times; on the other hand, the society has a diversified demand for culture. It also promotes the accelerated change in the concept, content and form of the documentary. This paper chooses Frederick Wiseman and his representative documentary works as the object of study, the formation of its creation style, the creation of content, The forms of creation and the influence of the works on modern and contemporary are deeply analyzed and discussed. First of all, by analyzing the cultural background of Neo-realism Movie Movement in the 1960s, Bazan's documentary Film Aesthetics Theory, and the social external environment of the subject, This paper discusses the relationship between the formation of Wiseman documentary creation concept and the evolution of documentary aesthetic trend and the social and historical environment. Secondly, aiming at the content of Wiseman documentary works, the author analyzes the relationship between the society and the individual. Life and other three aspects as a research breakthrough point of view, from multiple perspectives to explore the documentary in revealing the complex relationship between people and society, focusing on the concern for life and reflect on the theme of Wiseman documentary; third, Through analyzing the process of Wiseman's creation, this paper probes into the characteristics of his onlooker aesthetics, and how to use metaphor and impressionistic pictures to deepen and extend the creative techniques of the theme of documentary. On the basis of the above research, this paper focuses on the influence of Wiseman documentary on the aesthetic trend of Chinese documentary and the concrete practice of its unique creative style in China. This paper introduces the process of documentary creation in China with the aesthetic characteristics of "direct film" as a bystander, and the leading role of these documentaries in the development and reform of documentary creation in China. Today in the 21 century, Chinese culture and international cultural exchanges are frequent. Drawing lessons from foreign creation models and creative techniques, we can better promote the development of Chinese documentaries to diversity, and guide our documentaries to pay more attention to society and life. The thinking of life is also a good way to integrate Chinese documentaries into the international community.
【學位授予單位】：浙江師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J952

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2 吳文光;;我認識的懷斯曼和他的紀錄片[J];當代藝術(shù)與投資;2007年11期

3 王遲;;虛構(gòu)的懷斯曼[J];南方電視學刊;2012年01期

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本文編號：1985894