在《淹没》中,李一凡克制着自己的造型冲动,在拍摄中只有记录而没有介入,作者几乎是隐形的,在后期剪辑中也是如此,最终观众在成片中看到的重庆奉节永安镇在三峡工程移民搬迁中发生的事情,远远没有他们最初想象的那样富有揭露感及爆料性。对于李一凡来说,他的工作首先是据实记录,而不是摆出“地下”、“独立”的姿态。纪录片的批判力量源于客体的真实而不是导演的主观倾向,因此据实记录的《淹没》肯定不同于主流影像中欢天 In “Inundation”, Li Yifan restrained his modeling impulse, recording only without intervention, the author is almost invisible, as in the latter part of the clip, the final audience in the film to see Yong Feng Town, Fengjie in Chongqing What happened during the relocation of the Three Gorges Project was far less revealing and informative than they initially imagined. For Li Yifan, his work is first of all factual records, rather than “underground”, “independent” attitude. Documentary criticism stems from the reality of the object rather than the director’s subjective tendencies, so the actual recorded “submerged” must be different from the mainstream video joy