摘要
20世纪90年代中国独立纪录片创作及其运动,是一批站在时代前列、独立于中国主流影视及体制之外的纪录片作者的民间纪录片影像创作。与同时代的体制内的影视创作与导演形成巨大差异的是,这些独立纪录片导演置身民间,寻找真像,在边疆、乡村和城市街巷等独立现场,用最真诚的情感和摄影机,建立其对当代中国的话语立场和具有共和国记忆价值的民间现场。文章主要讨论90年代中国独立纪录片及其“不约而同”的纪录片运动,以几部在中国独立纪录片运动历程具有里程碑意义与价值的纪录片及导演创作为文本,审视不同导演的创作现实。其中,吴文光的创作注重抗争与权力;杜海滨的创作强调生存状态;蒋樾的创作反省生存价值;段锦川的创作则实现直接电影的观念与思想在中国的尝试等,期待在梳理各位纪录片导演创作中,摄影机镜头材料所构建的开放多义的现场,呈现不约而同的独立纪录片形态。
The mid-1990s national independent documentary creation and its movement are a group of folk documentary images of documentary writers who stand at the forefront of the times and are independent of the Chinese mainstream film and television and system. The great difference between film and television creation and director in the same era system is that these independent documentary directors are in the folk, looking for the truth, in the frontier, rural and urban streets and other independent sites, with the most sincere feelings and cameras, to establish their discourse position on contemporary China and the folk scene with the value of the Republic's memory. This paper mainly discusses the 90 Chinese independent documentary and its "Same" documentary movement, with several documentaries and directors in the course of China's independent documentary movement milestones and values as the text, to examine the creative reality of different directors. Wu Wenguang's creation pays attention to struggle and power;Duhai's creation emphasizes the state of existence;the creation of Jiang Yue by reflecting on the value of survival;the creation of Duan Jinchuan realizes the idea and thought of direct film in China. The author tries to present different scenes constructed by camera lens material in combing the work of the documentary directors.
作者
肖平
李冉
XIAO Ping;LI Ran(Art College of Nanjing University of Aeronautics and Astronautics, Nanjing, Jiangsu 210000;Shanghai Zidao Jingshe Culture Communication Co., Ltd, Shanghai, 201203, China)
出处
《肇庆学院学报》
2019年第4期86-93,共8页
Journal of Zhaoqing University
关键词
九十年代
独立纪录片
运动
1990s
independent documentary
movement
