Dissipative system,poetic reality and humanistic aesthetics:A study of China Central Newsreel and Documentary Film Studio in the 1980s
It is generally believed that a series of"rectifying"political measures and economic reforms in the late 1970s paved the way for the emergence of enlightenment thoughts,reform ideas,and humanistic spirit in the documentaries of the 1980s.However,this perspective tends to overlook the consistent institutional characteristics,advocacy functions,and educational attributes of documentary images since the founding of the People's Republic of China,conflating the distinct mediums of documentary films and television documentaries.Documentary film production,primarily by the China Central Newsreel and Documentary Film Studio,initially responded swiftly to the calls of the era and society,blending news with documentary to create a"seamless"narrative.This textual production became fertile ground for cul-tural enlightenment,moral exhortation,and humanistic concern.However,due to the severe social transformations,cul-tural shifts,and value migrations in the late"new period",documentary imagery experienced a brief buffering and basic stagnation,leading to its absence from the cultural narrative,overshadowed by social history and aesthetic considerations.Therefore,revisiting this captivating yet complex field of imagery and cultural paradigms,in light of historical changes,becomes a scholarly necessity and possibility.The documentaries of the 1980s hold rich social historical memories,human geographic landscapes,and cultural aesthetic characteristics that,confined to a narrow cultural circle,have been relegated to a"forgotten corner".This calls for further academic exploration and a more nuanced investigation into this significant but overlooked aspect of Chinese documentary film.
documentary filmconceptual displacementsystem dissipation"visualized political discourse"humanistic aesthetics
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