“解严”以来台湾新纪录片运动发展研究

发布时间：2018-03-14 10:51

本文选题：纪录片　切入点：台湾　出处：《重庆大学》2014年硕士论文　论文类型：学位论文

【摘要】：自1987年台湾“解严”以来，台湾纪录片随着整个社会文化环境的变化和社会意识的觉醒，在创作、研究和展演等方面取得了长足的发展。而在海峡对岸的大陆，同样也在80年代末悄然兴起了一波独立纪录片运动，两岸的纪录片发展在80、90年代有很多相似之处。但随后两岸纪录片的发展却由于不同的政治和社会背景，逐渐走向了完全不同的道路。本文将通过梳理“解严”之后台湾纪录片的发展脉络来探究台湾新纪录片运动对台湾纪录片蓬勃发展的影响。上世纪80年代，由于台湾风起云涌的社会运动和摄影技术的进步，来自于民间的纪录片打破了官方对媒体的垄断，纪录片成为社会运动的利器。“解严”后，随着台湾媒体环境的变化和台湾社会意识的觉醒，台湾纪录片出现了多元的拍摄题材，通过对多个热点社会议题的探讨和对底层边缘人物的关注，台湾纪录片开始走向百花齐放时代。 90年代中后期，由于台湾公视《纪录观点》的开播、国际纪录片双年展的举办，为台湾纪录片的发展提供了更为宽广的传播平台和国际视野；与此同时，台南艺术大学音像纪录所的成立和台湾各地社区影像培力营的开办，不仅为台湾纪录片的发展培养了专业的创作人才，，而且还通过发动民间力量，为台湾纪录片培养了大批的纪录片观众和草根纪录片创作者。此外，诞生于1986年的全景印象工作室，通过其核心人物吴乙峰多年来不遗余力的对纪录片的推广和对纪录片人才的培训计划，使得“全景模式”对后来台湾的纪录片创作者产生了巨大的影响，使得关注弱势边缘人物和长期蹲点后与拍摄对象“搏感情”的方式成为后来台湾纪录片的一大特色。近年来，通过多远的行销途径，台湾纪录片无论是在口碑还是票房上都取得不俗的成绩。借力各色影展，台湾纪录片得以让更多人看见；通过来自于政要、明星等名人的口碑营销和针对特定观众群体的网络精准营销，掀起一波波观看纪录片的热潮，很多纪录片的票房甚至远远超过大片；最后，通过近年来同国家地理和探索频道的合作，台湾纪录片开始逐渐登上国际舞台，使得来自于台湾的本土文化进入世界各地的媒体中。本文通过梳理已取得不俗成绩的台湾纪录片近三十年的发展脉络，以时间的纵轴和社会因素的横轴为坐标，为蓄势待发的大陆纪录片提供可参考和对比的研究资料。
[Abstract]:Since 1987, with the changes of the whole social and cultural environment and the awakening of social consciousness, Taiwan documentaries have made great progress in the fields of creation, research and exhibition. At the end of 80s, there was also a wave of independent documentary movements. The development of documentaries on both sides of the Taiwan Strait had many similarities in the 1980s and 1990s. But then the development of documentaries across the Taiwan Strait was due to different political and social backgrounds. This paper will explore the influence of Taiwan's new documentary movement on the vigorous development of Taiwan documentary by combing the development of Taiwan documentary after "lifting martial law". In -20s, due to Taiwan's surging social movement and advances in photography technology, documentaries from the private sector broke the official monopoly on the media, and documentaries became a sharp weapon of social movements. After "lifting the martial law," With the changes in Taiwan's media environment and the awakening of Taiwan's social consciousness, Taiwan documentaries have appeared a variety of shooting themes, through the discussion of a number of hot social issues and their concern for the underclass fringe figures. Taiwan documentary began to move towards the era of blooming a hundred flowers. In 90s, due to the launch of Taiwan Public Television's documentary Viewpoint, the holding of the International documentary Biennale provided a wider communication platform and an international perspective for the development of Taiwan's documentaries; at the same time, The establishment of the Audio-Video recording Institute of Tainan University of Art and the opening of community video camps in various parts of Taiwan have not only trained professional creative talents for the development of Taiwan documentaries, but also mobilized private forces. It has trained a large number of documentary audiences and grassroots documentary creators for Taiwan documentaries. In addition, the panoramic impression studio, which was born in 1986, Through its core character, Wu Yifeng, who has spared no effort in promoting documentaries and training documentaries for many years, the "panoramic model" has had a tremendous impact on later documentary creators in Taiwan. It makes the way of focusing on the vulnerable characters and long-term stay with the filming object to be a major feature of the later Taiwan documentary. In recent years, Taiwan documentaries have made remarkable achievements both in word of mouth and at the box office through how far they can be marketed. With the help of a variety of film festivals, Taiwan documentaries have been able to be seen by more people; through political figures, The reputation marketing of celebrities, such as celebrities, and the accurate marketing of the Internet for specific audience groups have set off a wave of documentaries, many of which have far exceeded the box office of blockbusters. Finally, Through the cooperation with National Geographic and Discovery Channel in recent years, Taiwan documentaries have gradually stepped onto the international stage, making native culture from Taiwan into the media all over the world. By combing the development of Taiwan documentaries in the past 30 years, and taking the vertical axis of time and the horizontal axis of social factors as coordinates, this paper provides references and comparative research materials for the forthcoming mainland documentaries.
【学位授予单位】：重庆大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J952

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