“历史的细语”：新纪录运动中的底层影像研究（1991-2010）

【作者】 罗锋；

【导师】 吕新雨；

【作者基本信息】 复旦大学 ， 广播电视学， 2011， 博士

【摘要】 1990年代,中国纪录片领域发起了一场“新纪录运动”,其中大部分影像开始关注底层群体。原先被遮蔽的底层社会开始在镜头中向我们敞开。论文以新纪录运动中的底层影像为研究对象,在社会历史背景中考察底层影像的生成语境,探究底层影像如何呈现、呈现了一个什么样的底层社会,以及如何在“看”与“被看”的关系中理解、认识底层影像,并在此基础上最终探讨底层影像之于历史书写的意义。论文主要分为以下几个部分：第一章力求细致地追踪中国纪录片中底层影像的嬗变轨迹。对底层影像嬗变轨迹的梳理决不仅限于这一描述行为本身,其最终目的在于为进一步详尽分析讨论1990年代纪录片底层形象的集中呈现奠定基础。更重要的是,若没有对当代纪录片中关于底层影像的讨论,我们也就无法了解后期中国电视纪录片为何会被称为“专题片”,进而也就难以理解新纪录运动中底层影像出现所带来的视觉力量和思想冲击。第二章主要考察新纪录运动中的底层影像生成语境。除了社会转型这一维度外,本章从宏观、中观和微观视角试图揭示出新纪录运动中的底层影像出现背后存在的复杂语境。第三章主要讨论底层影像是如何呈现底层的问题。这一部分首先从当下的大型纪录片切入并对其一味追求视觉奇观效应提出自己的质疑,进而去考察底层叙事如何建构自己的修辞方式,其中重点讨论了影像呈现底层的两种手法：回归现场和日常生活叙事,并着重分析了底层影像偏重于记录日常生活的缘由。第四章对底层影像的考察由外部转向内部,深入影像文本当中去解读影像为我们呈现了一个什么样的底层空间。本章粗略地将底层划分为下岗工人、农民工和性工作者三大类别分别加以观照,尝试着结合社会学、政治学等相关学科的理论视角对文本进行解读。同时结合南亚庶民研究学派相关学说来探讨底层影像之于历史书写的意义。第五章将影像文本内外结合起来,以“看”与“被看”的关系为总体性视角来观照底层影像。首先简要论述了“底层能否发声”这一问题；其次侧重于从拍摄者与拍摄对象的观看关系来对底层影像涉及到的伦理问题展开分析；最后由底层影像与西方电影节和各类影展的观看关系切入,论述了简单套用后殖民主义理论以及站在泛道德立场理解底层影像可能存在的风险。结语部分则在以上论述的基础上,再次对新纪录运动中的底层影像的历史与文化意义作一总体观照；同时对本研究不足之处,以及下一步打算开展的研究思路作一简要说明。更多还原

【Abstract】 The New Documentary Film Movement was launched in the 1990s in China. After that, many Chinese documentary directors paid attention to the people who lived in the Subaltern society and through those documentaries we saw a Subaltern world that we had never seen. We use the documentaries which reflect the life in the Subaltern society as the research object to this doctoral dissertation. In this doctoral dissertation we’d like to discuss how the Subaltern documentaries reflect the Subaltern society and how to understand the Subaltern documentaries. Last but not the least, we will try to figure out the meaning of discussing the Subaltern documentaries.The doctoral dissertation is divided into the following sections,Chapter One is about the history of Subaltern documentaries, which aim to analysis the image of the Subaltern people. More importantly, without the discussions above we could not understand why TV Documentaries are called as feature films in China in the late 1990s, then we cannot understand how the Subaltern documentaries, which were made during the New Documentary Film Movement, influence us visually and logically.Chapter Two is about the context of the Subaltern documentaries which were made during the New Documentary Film Movement. Besides the social transformation, this section will discuss other context, including the Macro, meso and micro perspectives.Chapter Three discusses how the Subaltern image shows the Subaltern problems. Firstly, the author question the meaning of popularity of effect of visual spectacle in Current large-scale documentaries. Secondly, the author discuss how to narrate in Subaltern documentaries. There are two ways,which include shooting scene of the incident and describing daily life, to narrate in Subaltern documentaries,Chapter Four investigates the Subaltern image shifted from the external to internal. In Chapter Four the author try to present an image of the Subaltern society for us. This chapter divide Subaltern into three categories, laid-off workers, migrant workers and sex workers. The author try to combine sociology and political science with other related disciplines to interpret the text. At the same time, combined with the theory of Subaltern of South Asia, the paper explore significance of Subaltern documentary on historical writing.Chapter Five combines the film text inside and outside and observes the Subaltern image in a perspective view from the relationship between "see" and "seen".Firstly,This doctoral dissertation briefly discusses "whether the Subaltern could express their views". Secondly, the author analyse the ethical issues involved with Subaltern image, which focuses on the relationship between Photographer and subject. Last but not the least, the author uses the post-colonial theory to discuss possible risks if people stand on the pan moral position when they try to understand the Subaltern image.On the basis of discussion, the paper give an overall reflection on historical and cultural significance of the Subaltern documentary during the The New Documentary Film Movement. Then the author gives a brief description of further research as there are several drawbacks in this research.更多还原