“必然的相遇”：小川绅介对中国独立纪录片的影响研究

发布时间：2018-03-17 09:29

本文选题：小川绅介　切入点：中国独立纪录片　出处：《安徽大学》2017年硕士论文　论文类型：学位论文

【摘要】：纪录片在中国的文化视野里,长期徘徊在国家话语与民间话语的双行线上。前者构成了一种宏大的历史叙事,成为官方正史的影像注脚;后者则源于个体意志,寻求一种有别于主流意识形态、真实而自觉的记忆形式。对于任何一个关注中国社会和文化变迁的人来说,20世纪90年代以来的独立纪录片创作都是不可或缺的存在。小川绅介作为中国独立纪录片的启蒙者,其纪录精神影响了一代中国人。同时,他创办的山形国际纪录片电影节也成为中国独立纪录片在世界亮相的"大本营"。但正如八十年代本雅明是以一种精神形象而非学理观念被引入一样,小川绅介进入中国人视野的时候,更多被强调的是一种"纪录精神"。因此,学术界关于小川绅介纪录精神着墨颇多,但对其作品的阐述却鲜有。这提醒笔者,关注一代纪录片大师的方式必须落在其作品上,任何口号式的宣传都可能造成"理想主义的困惑"。本论题正试图以历史为线索,以作品为切入,透析小川绅介纪录精神与中国独立纪录片创作背后共通的理念价值。本文的研究主要包括以下几个方面:首先,通过对小川绅介纪录片发展脉络的梳理,厘清其思想轨迹的演变,明确纪录精神表达的真正内涵。在此基础上,考察小川绅介纪录精神在中国不同纪录片创作者身上的体现,对此进行具体而深入的分析。其次,笔者将着重从中日双方"纪录片的时代背景"、"空间上的地缘关系"以及"观念上的文化认同"三方面阐述小川绅介及其纪录精神能够顺利被中国独立纪录片创作者所接受的原因。最后,立足于当下,发现小川绅介的同行者及后继者与中国独立纪录片的关系,从另一视角回应本论的核心命题"小川绅介与中国独立纪录片的必然相遇"。通过以上问题的展开与讨论,以期为"小川绅介对中国独立纪录片的影响"勾勒一个清晰的轮廓,为中国独立纪录片研究提供一个相对独特的视角。影像承载着意义,纪录片作为一种影像建构的历史叙事话语,它的角色塑造受到叙述者及其背后相关主体社会身份的制约和影响,同时也塑造了他们的社会身份和历史地位。小川绅介一生参与社会运动、追求描写心灵,他用18部作品完成了他与世界的互动。中国独立纪录片兴起于90年代的断裂与新生,而今正在广袤的现实土壤中跌跌撞撞前行。笔者认为,小川绅介与中国独立纪录片之所以能跨过语言的障碍如此契合,是因为我们分享着一个共同的理想和精神目标。研究小川绅介与中国独立纪录片的相遇,有助于我们透过纷繁复杂的表象来把握中国独立纪录片的深层内涵,更好的推动中国独立纪录片在众声喧哗的影像中,留存一个时代的记忆。
[Abstract]:The documentary film has been hovering in the Chinese cultural field of vision for a long time. The former constitutes a grand historical narrative and becomes the image footnote of the official history, while the latter comes from the individual's will. Looking for a different ideology from the mainstream, True and conscious forms of memory. For anyone concerned with the changes in Chinese society and culture, the creation of independent documentaries since 90s is an indispensable existence. Its record spirit has affected a generation of Chinese. At the same time, The Mountain International documentary Film Festival, which he founded, has also become a "base" for Chinese independent documentaries appearing in the world. But just as in 80s Benjamin was introduced as a spiritual image rather than a theoretical concept. When Sasuke Ogawa entered the Chinese perspective, he was more emphasized as a kind of "record spirit." therefore, the academic circles have a lot of ideas about the record spirit of Saesuke Ogawa, but there are few explanations of his works. This reminds the author. The way to focus on a generation of master documentaries must fall on their work, and any slogan propaganda can cause "idealistic confusion." this thesis is trying to take history as a clue and a work as a starting point. This article mainly includes the following aspects: first of all, through combing the development context of the Saehara documentary, the author analyzes the common values of the spirit of Saeto record and the creation of Chinese independent documentaries. Clarify the evolution of his thought track, clarify the true connotation of the expression of the record spirit. On this basis, investigate the embodiment of the record spirit in different documentary creators in China, and make a concrete and in-depth analysis of it. Secondly, The author will focus on the three aspects of "the background of the documentary", "the geographical relationship in space" and "the cultural identity of the concept" between China and Japan. The author will expound that Saisuke Ogawa and his record spirit can be successfully created by China's independent documentary. The reason for acceptance. Finally, Based on the present, we discover the relationship between Saesuke's peers and successors and independent documentary films in China. From another angle of view to respond to the core proposition of this theory, "the inevitable encounter between Sasuke Ogawa and China's Independent documentary". Through the development and discussion of the above questions, the author hopes to outline a clear outline of "the influence of Shimadsuke on the independent documentary in China". It provides a relatively unique angle of view for the study of Chinese independent documentaries. Its role shaping is restricted and influenced by the narrator and its related subject social identity, at the same time, it also shapes their social identity and historical status. He completed his interaction with the world with 18 works. China's independent documentary, which began in 90s, was broken and reborn, and now stumbles along in the vast real world. The reason why Sasuke Ogawa and Chinese independent documentaries can cross the language barrier is that we share a common ideal and spiritual goal. It is helpful for us to grasp the deep connotation of the Chinese independent documentary through the complicated appearance, and to better promote the Chinese independent documentary to retain the memory of an era in the noisy image.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J952

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