论文部分内容阅读
纪录是一种技术,也是一种表达方式,起初是和一定的工艺手段联系在一起的,属于“知者创物”(1)的阶段,电影之父卢米埃尔兄弟的大量现实片段纪录以及同时期众多的猎奇风光影像当属此类。而当纪录片之父弗拉哈迪的《北方纳努克》(1922年)问世,创作者开始关注人的情感、尊重拍摄者的文化和生活状态时,“纪录”作为一种技能,进入了“巧者述之”(2)“尽物之性”“尽人之性”(3)的探索。1926年,纪录片教父格里尔逊在评价弗拉哈迪的《摩阿拿》(1926年)时首次使用“纪录片”这个词语,“纪录”开启了从“工艺”到“艺术”的转变历程,踏上“尽物之性”的艺术创造之旅,纪录片的美学和社会学地位得以确立。
Record is a technology, but also a way of expression, initially associated with a certain means of craftsmanship, belonging to “the creator of a creation ” (1) of the stage, the film’s father Lumiere brothers a large number of reality Fragment records and the same period many of the mysterious scenery images fall into this category. When the father of documentary Flashad’s “North Nanuk” (1922) came out, the creators began to pay attention to human emotions and respect the photographer’s cultural and living conditions. As a skill, Into the “clever description of the” (2) “the nature of everything ” “human nature ” (3) exploration. In 1926, documentary Godfather Greer first used the term “documentary” in evaluating “Lahaina Moana” (1926) of Flachau, and “record” opened the “process” from “Art ” the course of change, embarked on “the nature of all ” artistic creation journey, documentary aesthetic and sociological status was established.