摘要
在新冠肺炎疫情席卷全球的灾难面前,纪录片导演/创作者从他们各自的视角记录着武汉发生的故事。在“同题”竞争下,叙事视角的选择是纪录片导演/创作者如何讲故事的首要问题。影片创作者根据创作者、被拍摄对象、观众之间不同的结合方式,将创作者的视角分为全知视角和限知视角。符合政治宣传目的,出品方来自官方、主流媒体,表现对象众多的全景式宏大叙事的往往会选择全知视角,而独立纪录片导演或者与媒体平台合作的导演往往选择限知视角。限知视角包含外视角和内视角。外视角创作者采用旁观者的隐知视角,纪录片《被遗忘的春天》选择有典型意义的社区和与创作者气场相通的人物,采用隐匿式采访,让人物自己说话,无解说、主持和音乐,注重偶然性的捕捉,将事物的真实随时收入摄像机,这种创作手法与风格与直接电影是一致的;创作者内视角下的观察电影是基于导演/创作者与观众的共同观察,《好久不见,武汉》导演/创作者作为纪录片中的人物,是事件的发起者和参与者,主动介入到事件的拍摄之中,创作者既是导演,也是主持人。限知视角下的灾难纪录片更多的是一种非官方视角、一种平等视角,是对官方主流声音的补充和丰富,能够提供倾诉渠道、记录民众的记忆,从而起到慰藉人心的作用,能给历史留下蕴含创作者态度、有独立性的档案,而导演/创作者是外国人身份,其作品则在某种程度上起到了架桥梁、促沟通的跨文化传播与交流作用。
At the beginning of 2020,a sudden outbreak of COVID-19 swept the world.In the face of the disaster,the documentary directors silently recorded the stories that happened in Wuhan from their own viewing points.Since it is a real possibility that directors choose the same theme to narrate stories,the choice of narrative viewing point becomes their top priority.Filmmakers have different choices when narrating stories about others.Narrative viewing points can be divided into omniscient viewing point and limited viewing point according to different combinations of filmmakers,subjects and audience.Filmmakers from official or mainstream media tend to choose omniscient viewing point to show panoramic grand narratives which involve a lot of characters so as to meet the purpose of political propaganda,while independent documentary directors or directors working with media platforms prefer limited viewing point.Limited viewing point falls into two kinds:internal viewing point and external viewing point.The filmmakers adopting external viewing point often choose typical communities and characters connected with his aura to make covert interviews from the peeking viewing point,in which characters talk to themselves without commentary,hosts or music.They pay attention to the capture of happenstance and record the truth at any time,which is consistent with the technical approach and style of direct cinema.Observational cinema from internal viewing point is based on the common observation between directors/filmmakers and audience.As a character in the documentary,the director/filmmaker is the initiator and participant of the event and actively participates in the shooting of the event.The filmmaker is both the director and the host in an observational cinema.Disaster documentaries from the limited viewing point supplement and enrich the mainstream official voices from an unofficial and relatively more equal viewing point.They can provide channels for people to express their views and record their memories,thus playing an importan
作者
陈艳艳
CHEN Yanyan(Institute of Higher Education,Southwest Jiaotong University,Chengdu 611756,China)
出处
《西南交通大学学报（社会科学版）》
2021年第2期42-52,共11页
Journal of Southwest Jiaotong University(Social Sciences)
关键词
灾难性纪录片
限知视角
外视角
内视角
直接电影
观察电影
《被遗忘的春天》
《好久不见
武汉》
disaster documentary
limited viewing point
internal viewing point
external viewing point
direct cinema
observational cinema
The Lost Spring
Long Time No See,Wuhan
