内蒙古人文电视纪录片的美学特征

发布时间：2018-01-30 01:07

本文关键词： 内蒙古人文电视纪录片纪实美叙事美诗意美　出处：《内蒙古师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：纪录片是时代精神的记录者，是一个国家、民族活着的记忆，承载着对民族乃至人类的人文精神的记录与重现，其中人文电视纪录片以艺术价值高、文化价值大的特点成为最受青睐的片种。我国人文电视纪录片创作在20世纪90年代进入高潮，《沙与海》《最后的山神》《藏北人家》《远去的村庄》《八廓南街16号》《龙脊》等作品的出世不仅开始了对人、对精神的关注，也开启了中国纪录片走向世界之门，这些作品先后获得了亚广联纪录片大奖、日本山形国际纪录片电影节“小川坤介”奖、法国蓬皮杜中心“真实电影节”首奖等多个国际奖项。内蒙古人文电视纪录片作为中国人文电视纪录片中展现独特的民族文化、民族精神的一个分支，具有重要的理论研究价值。自1979年第一部内蒙古人文电视纪录片《沙漠散记》开拍以来，产生了《草原散记》《驯鹰散记》《最后的山神》《神鹿啊，我们的神鹿》《金色圣山》《父亲的眼泪》《宝娆的故事》《没有缝完的蒙古袍》《下山》《驼殇》《过冬》等多部优秀作品，，以其独特的题材内容、多元的纪实手法、深刻的主题意蕴，深受观众喜爱，得到业界人士的一致认可，获得了国际国内多个奖项。本论文将借鉴法国著名电影理论家让·米特里的电影美学三层次理论，结合民族学、文化学、纪录片、叙事学等理论，用文本细读法全面把握内蒙古人文电视纪录片的美学特征。全文由绪论、内蒙古人文电视纪录片的纪实美、叙事美、诗意美、余论五部分组成。绪论，主要介绍几个概念：电视纪录片（概念及分类）、人文电视纪录片、内蒙古人文电视纪录片，并简述了内蒙古人文电视纪录片的发展概况及论文的研究框架。一、内蒙古人文电视纪录片的纪实美，是从纪录片的“真实”本质出发，结合米特里电影美学第一层理论——影像的再现功能，主要讨论内蒙古人文电视纪录片的主观真实与客观真实、表象真实与本质真实相结合的纪实特征。二、内蒙古人文电视纪录片的叙事美，是从纪录片的叙事性出发，结合米特里电影美学第二层理论——影像间的蕴涵关系以及叙事学相关理论，主要从叙事方式的故事化、叙事视角的综合化、叙事结构的多元化三方面入手，讨论了情节化叙述、巧设悬念、注重细节运用、各叙事视角相结合运用、表层及深层叙事结构等问题。三、内蒙古人文电视纪录片的诗意美，是从纪录片的艺术性出发，结合米特里电影美学第三层理论——由影像造型等艺术效果实现的“诗意”表达，探讨了创作者的情感投入、作品意义表达，并重点从画面运用、虚实互动、声画关系三方面重点讨论了内蒙古人文电视纪录片独特的艺术表现手段。余论，简述内蒙古人文电视纪录片在创作中存在的局限与不足，以期为内蒙古人文电视纪录片的繁荣发展提供一定的理论指导和实践启示。
[Abstract]:Documentary is a record of the spirit of the times, is a country, the living memory of the nation, bearing the record and reproduction of the humanistic spirit of the nation and even human beings, among which the humanistic television documentary film is of high artistic value. The characteristics of great cultural value have become the most popular film. In 1990s, the creation of Chinese humanistic television documentary entered its climax. The birth of works such as "Sand and Sea", "the Last Mountain God," "the people of Northern Tibet", "the villages gone", "16 Bagunan Street," "Longji" and so on, not only began to pay attention to people, but also to the spirit. Also opened the door to the world of Chinese documentaries, these works have won the Asian wide Federation documentary awards, Japan Mountain International documentary Film Festival "Kosuki Ogawa" award. Pompidou Center in France, "Real Film Festival," the first prize and other international awards. As a branch of Chinese language TV documentary, Inner Mongolia humanistic television documentary shows unique national culture and national spirit. It has important theoretical research value. Since 1979, the first Inner Mongolia humanistic television documentary "Desert Stripe" began shooting, it has produced "prairie Stripe" "falconry" "the Last Mountain God" < "Deer". Our Deer > "Golden Holy Mountain" "Father's tears" "Bao Rao's Story" "Mongol robes without stitching" "Down the Mountain" < camel War > "wintering" and many other excellent works, with its unique theme content. Multiple documentary techniques, profound theme implications, deeply loved by the audience, has been unanimously recognized by the industry, won a number of international and domestic awards. This paper will draw lessons from the famous French film theorist Jean-Mitri 's three-level theory of film aesthetics, combining the theories of ethnology, culturology, documentaries, narratology, and so on. The article is composed of five parts: introduction, documentary beauty, narrative beauty, poetic beauty and remainder discussion. Introduction, mainly introduces several concepts: television documentary (concept and classification), humanities television documentary, Inner Mongolia humanistic television documentary. The development of Inner Mongolia Humanities TV documentary and the research frame of the thesis are also briefly described. First, the documentary beauty of Inner Mongolia humanistic TV documentary is based on the "real" nature of documentary, combined with Mitri film aesthetics theory of the first layer-image reproduction function. This paper mainly discusses the documentary features of subjective reality and objective reality of Inner Mongolia humanistic television documentary film, and the combination of representation truth and essential reality. Secondly, the narrative beauty of Inner Mongolia humanistic TV documentary is based on the narration of documentary, combining with Mitri's second theory of film aesthetics, the implication relationship between images and the related theories of narratology. Mainly from the narrative way of story, narrative perspective of synthesis, narrative structure of the three aspects, discussed the plot of narrative, skillfully set up suspense, pay attention to the use of details, the combination of narrative perspective. Surface and deep narrative structure and so on. Thirdly, the poetic beauty of Inner Mongolia humanistic TV documentary is the expression of "poetic" which is realized by artistic effect such as image modeling and so on, based on the artistic nature of documentary and the third theory of Mitri's film aesthetics. This paper probes into the emotional input of the creators, the expression of the meaning of the works, and emphatically discusses the unique artistic expression means of the Inner Mongolia Humanities TV documentary from three aspects: the application of the picture, the interaction of the virtual reality and the relationship between the sound and painting. On the other hand, the limitations and shortcomings in the creation of Inner Mongolia humanistic TV documentary are briefly described, in order to provide certain theoretical guidance and practical enlightenment for the prosperity and development of Inner Mongolia humanistic television documentary.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J952

【参考文献】