摘要
从专注领袖和英雄的宏大叙事到面向普通人甚至社会边缘,从千篇一律的公共表情转向千姿百态的私密表情,从僵化单一的形象化政论体到丰富多样的美学形态,1978年以来的中国纪录片走上一条越来越宽阔的人文美学之路。尽管因为技术、平台、体制种种限制,纪录片依然深入社会复杂层面,见证了当代中国所经历的光荣、梦想、汗水与疼痛。
China’s documentary headed its way for aesthetics with humanistic concern since 1978, the year inaugurated China’s reform and opening-up. It focuses ever since on ordinary or even marginalized people instead of an authoritarian and heroic narration, on varied yet private expressions instead of a unanimous public one, and on diversified aesthetical patterns instead of a monotonous, political one. Although it’s somehow held back by technical deficiencies, communication platforms, and the authority’s censorship, the documentary probes into the complicated society as a witness to China’s glories, dreams, sweats, and pains.
出处
《电影艺术》
CSSCI
北大核心
2018年第6期21-25,共5页
Film Art
关键词
纪录片
改革开放
社会镜像
documentary
four decades (40years)
images the mirror the society
