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论纪录片真实性的三种观念

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20世纪末,后现代主义波及纪录片的研究领域,西方学者对纪录片展开重新讨论,涌现了大量新的纪录片理论和批评方法.关于纪录片中真实观念的讨论也日益复杂和深刻.从影像本体、假定断言和认识论多个层面上看,真实已不再是绝对的概念,而是一个相对的选择.纪录片不仅记录现实,还体现了一种美学风格,是对现实的一种艺术折射.纪录片的真实观念在不同层面上都涉及主观性的存在,但这并不妨碍其追求历史真实.在审视纪录片时,重要的是认识到所谓的"事实"和"真理"并不是先验存在的,而是在特定的社会和文化框架中构建的.纪录片导演以美学观点出发,通过叙事构建故事的真实性,以达到通向历史真实的目的.
Three Concepts on the Authenticity of Documentary Films
At the end of the 20th century,postmodernism affected the research field of documentary films,and Western scholars began to re-discuss documentary films,resulting in a large number of new documentary theories and critical methods.The discussion about the concept of truth in documentaries is becoming increasingly complex and profound.From the perspectives of image ontology,hypothetical assertions,and epistemology,reality is no longer an absolute concept,but a relative choice.Documentary films not only record reality,but also embody an aesthetic style,which is an artistic reflection of reality.The concept of authenticity in documentaries involves subjectivity at different levels,but this does not hinder their pursuit of historical truth.When examining documentary films,it is important to recognize that the so-called"facts"and"truth"do not exist a priori,but are constructed within a specific social and cultural framework.The documentary film director takes an aesthetic perspective and constructs the authenticity of the story through narrative,in order to achieve the goal of leading to historical truth.

Documentary filmsAuthenticityImage ontologyAssuming assertionsEpistemology

姚盛仁、冯晓临

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中国艺术研究院研究生院,北京 101300

西北师范大学传媒学院,甘肃兰州 730070

纪录片 真实性 影像本体 假定断言 认识论

2024

南京艺术学院学报(音乐与表演版)
南京艺术学院

南京艺术学院学报(音乐与表演版)

北大核心
影响因子:0.375
ISSN:1008-9667
年,卷(期):2024.(1)
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