【摘要】：我國的紀(jì)錄片的產(chǎn)生比西方發(fā)達(dá)國家晚了很多年。因此,紀(jì)錄片創(chuàng)作的流派和風(fēng)格不可避免的與國外的紀(jì)錄片流派具有千絲萬縷的聯(lián)系。西方紀(jì)錄片的發(fā)展經(jīng)歷了無聲電影、格里爾遜式電影、直接電影真實(shí)電影以及新紀(jì)錄電影這幾個不同階段。每一階段的紀(jì)錄片理念都相應(yīng)的對中國紀(jì)錄片發(fā)展產(chǎn)生影響�；厮葜袊o(jì)錄片,從早期蘇聯(lián)式的形象化政論紀(jì)錄片,到格里爾遜式畫面加解說紀(jì)錄片,再到后來的專題片,以及受美國直接電影和法國真實(shí)電影影響的新紀(jì)錄片等,無一不與西方的紀(jì)錄片理念相勾連。本論題擬在此背景基礎(chǔ)上,主要從中國紀(jì)錄片真正發(fā)展的50年代開始切入,一直到紀(jì)錄片融入人們?nèi)粘Ｉ畹慕裉?在歷史的關(guān)照和對比中,更加深刻的體會西方紀(jì)錄片理念在中國不同時期產(chǎn)生的影響。本文的研究主要有以下幾個方面：首先,在對西方紀(jì)錄片發(fā)展的脈絡(luò)梳理清晰的基礎(chǔ)之上,研究西方紀(jì)錄片理念的發(fā)展路徑,并探討西方紀(jì)錄片理念在中國引入、傳播、接受的過程。其次,圍繞西方紀(jì)錄片觀念與中國紀(jì)錄片發(fā)展變遷之間的關(guān)系,對西方紀(jì)錄片觀念對中國紀(jì)錄片的影響進(jìn)行具體而深入的分析。最后,立足于當(dāng)下中國紀(jì)錄片存在和發(fā)展的大環(huán)境,在詳細(xì)闡述西方紀(jì)錄片觀念對我國紀(jì)錄片不同時期的影響之后,對格里爾遜式進(jìn)行再審視、對直接電影紀(jì)錄理念進(jìn)行反思,對新紀(jì)錄片電影進(jìn)行完整的認(rèn)識和評價。通過以上問題的展開與探討以期展現(xiàn)出一個西方紀(jì)錄觀念對中國紀(jì)錄片創(chuàng)作影響的清晰輪廓,為中國紀(jì)錄片研究提供了一個獨(dú)特、具有可操作性的研究路徑和實(shí)踐參考,以助于我們透過紛繁復(fù)雜的表象來把握中國紀(jì)錄片發(fā)展的深層規(guī)律,進(jìn)而有助于紀(jì)錄片創(chuàng)作者更好的把握好紀(jì)錄片的內(nèi)涵,更好的推動我國紀(jì)錄片的在實(shí)踐創(chuàng)作中更加完善。
[Abstract]:The production of documentary film in our country is many years later than that in western developed countries. Therefore, the genre and style of documentary creation are inextricably linked with foreign documentary schools. The development of western documentaries has gone through different stages, such as silent film, Grierson film, direct film, real film and new record film. Each stage of the concept of documentary has a corresponding impact on the development of Chinese documentaries. Looking back at Chinese documentaries, from the early Soviet-style visualized political documentaries, to the Grieson-style screen plus commentary documentaries, to the later feature films, as well as to the new documentaries influenced by American direct films and French real films, and so on. All are associated with the idea of western documentaries. On the basis of this background, this thesis mainly starts from the real development of Chinese documentaries in the 1950s, until today, when documentaries are integrated into people's daily life, in the historical care and comparison. A more profound understanding of the Western documentary concept in China at different times of influence. The research of this paper mainly includes the following aspects: firstly, on the basis of combing the development of western documentaries, this paper studies the development path of western documentary ideas, and probes into the introduction and dissemination of western documentary ideas in China. The process of acceptance. Secondly, focusing on the relationship between the concept of western documentary and the development and change of Chinese documentary, this paper makes a concrete and in-depth analysis of the influence of western documentary concept on Chinese documentary. Finally, based on the existing and developing environment of Chinese documentaries, after expounding in detail the influence of western documentary concepts on the different periods of Chinese documentaries, the author reexamines the Grieson style and reflects on the concept of direct film records. A complete understanding and evaluation of the new documentary film. Through the development and discussion of the above questions, the author hopes to show a clear outline of the influence of western documentary concept on the creation of Chinese documentaries, which provides a unique and operable research path and practical reference for the study of Chinese documentaries. In order to help us through the complex appearance to grasp the deep laws of the development of Chinese documentaries, and then help the documentary creators better grasp the connotation of documentary, better promote our documentary in the practice of more perfect.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J952

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