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在谈到故事片与纪录片的区别时,美国学者希拉·柯伦·伯纳德在自己的专著《纪录片也要讲故事》中曾经极力的阐述一个观点:“纪录片讲故事就可以了”。这似乎有意模糊两者的概念,但最初,卢米埃尔兄弟在拍摄第一部影片《工厂大门》、弗拉哈迪“传奇性故事”的纪录片,正是表达了了纪录片没有作为独特的形式与故事片相隔开来这样一种观点。如2017年张杨执导的《冈仁波齐》,正是以一家人去布达拉宫朝拜为背景,讲述了朝拜路上经历的点点滴滴,视听效果的冲击,平行蒙太奇的剧情设计,使这部纪录片与传统的纪录片定义相差甚远。但故事片《甲午风云》《末代皇帝》等也是真实再现了当时历史的点滴,却也不乏情节化与性格化的点缀。仔细观察一下历史上的纪录片和故事片,就可以清晰地感受到两者诸多方面水乳交融的状态;这些足以证明,在电影的发展史上,纪录片和故事片的相互影响和作用是极深的。而两者又有何区别和联系?我旨在以故事片为镜观照纪录片,以便更好地阐明纪录片讲故事与故事片的纪录手法。
When talking about the difference between the feature film and the documentary, the American scholar Sheila Curran Bernard elaborated in his monograph the documentary also tells the story: “Documentary tells the story is fine.” This seems intent on blurring the concept of the two, but initially, the Lumiere brothers filmed in the first film “The Factory Gate,” Flachard “The Legendary Stories”, which expressly did not act as a documentary The unique form and the story apart from such a point of view. For example, in 2017, “Gangrenboqi” directed by Zhang Yang is based on the family’s visits to the Potala Palace. It tells the story of the experience of pilgrimage, the impact of audio-visual effects, the parallel montage plot design, Documentary and traditional documentary definition far from. However, the feature films such as “Sino-Japanese War,” “The Last Emperor,” and so on are also true reproductions of the historical bit by bit, but there is no lack of plots of plot and characterization. A closer look at the history of the documentaries and feature films, you can clearly feel the blend of many aspects of both the state; these are enough to prove that in the film’s history, the documentary and feature films interact and effect is very deep. And what is the difference and connection between the two? I aimed to use the feature film as a mirror to document the documentary in order to better illustrate the documentary storytelling and feature film recording techniques.