【摘要】：新世紀(jì)以來(lái),中國(guó)電視紀(jì)錄片可謂是成績(jī)斐然、高峰迭起,不論是在創(chuàng)作手法、思想內(nèi)容、表達(dá)方式,還是文化形態(tài)、精神理念、審美價(jià)值上都較上個(gè)世紀(jì)有很大改善。然則欣喜之余可以發(fā)現(xiàn),優(yōu)秀作品鮮少,題材范圍依然無(wú)法與國(guó)際比肩,紀(jì)錄片產(chǎn)業(yè)亟待一條清晰的理論脈絡(luò)作為指導(dǎo)。因此,對(duì)新世紀(jì)紀(jì)錄片風(fēng)格特征的梳理、對(duì)新舊時(shí)期紀(jì)錄片風(fēng)格差異研究、對(duì)影像作品風(fēng)格變化因素的探尋顯得尤為重要。這不僅對(duì)紀(jì)錄片的重新分類(lèi)有一定的幫助,而且能夠打開(kāi)紀(jì)錄視野、開(kāi)拓紀(jì)錄新風(fēng),幫助中國(guó)電視紀(jì)錄片產(chǎn)業(yè)多元健康發(fā)展。 本文運(yùn)用文獻(xiàn)綜述、案例分析、統(tǒng)計(jì)分析的方法,首先對(duì)電視紀(jì)錄片風(fēng)格概念進(jìn)行了解讀,具體探討了中外紀(jì)錄片風(fēng)格形成過(guò)程、表現(xiàn)形式及影響因素；接著論述了2000-2012年紀(jì)錄作品題材、敘事、抒情三個(gè)方面的藝術(shù)風(fēng)格特征和中心文化、弄堂文化、江南文化、齊魯文化、嶺南文化風(fēng)格特征,提出了風(fēng)格與藝術(shù)創(chuàng)作、審美需求、社會(huì)觀念、收視率之間的關(guān)系；然后文章探究了中國(guó)現(xiàn)階段紀(jì)錄片的國(guó)際地位、未來(lái)發(fā)展之路及前景展望,并對(duì)中外紀(jì)錄片創(chuàng)作風(fēng)格進(jìn)行了簡(jiǎn)要對(duì)比,提出應(yīng)當(dāng)以交融、開(kāi)放、多元的創(chuàng)作風(fēng)格應(yīng)對(duì)國(guó)際形勢(shì)；最后對(duì)新世紀(jì)電視紀(jì)錄片風(fēng)格走向進(jìn)行總結(jié),歸納出2000-2012年中國(guó)電視紀(jì)錄片豐富的藝術(shù)風(fēng)格和鮮明的文化風(fēng)格的具體特征。
[Abstract]:Since the new century, Chinese TV documentaries have made great achievements and peaks, both in terms of creative techniques, ideological content, expression methods, cultural forms, spiritual concepts and aesthetic values, all of which have been greatly improved compared with the last century. However, we can find that there are few excellent works, and the range of subjects can not be compared with that of the international, and the documentary industry urgently needs a clear theoretical context as a guide. Therefore, it is particularly important to comb the characteristics of documentary style in the new century, to study the difference of documentary style in the new and old period, and to explore the factors of the change of the style of the image works. This will not only help the reclassification of documentaries, but also open up the field of record, open up the new trend of record, and help the diversified and healthy development of China's TV documentary industry. This article uses the literature review, the case analysis, the statistical analysis method, first has carried on the explanation to the television documentary film style concept, has discussed the Chinese and foreign documentary style formation process, the manifestation form and the influence factor concretely; Then it discusses the artistic style characteristics and the central culture, the Jiangnan culture, the Qilu culture, the Lingnan culture of the three aspects of the subject matter, the narrative and the lyricism of the recorded works from 2000 to 2012, and puts forward the style and artistic creation. The relationship between aesthetic demand, social concept and ratings; Then the article probes into the international status, the way of the future development and the prospect of the documentary film in China at present, and makes a brief contrast to the creation style of the Chinese and foreign documentaries, and puts forward that the creative style should be mixed, open and pluralistic to deal with the international situation; Finally, the author summarizes the trend of TV documentary style in the new century, and concludes the specific characteristics of the rich artistic style and distinctive cultural style of Chinese TV documentary from 2000 to 2012.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J952

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