【作者】 刘震；

【导师】 王瀚东；

【作者基本信息】 武汉大学 ， 传播学， 2013， 博士

【摘要】 纪录片被称为人类的生存之镜,世界上多数国家都高度重视纪录片的文化传承功能。美国“电影艺术与科学学院奖”1942年开始给予加拿大纪录片《丘吉尔之岛》以最佳纪录片奖之后,截止到2013年,一共有145部来自各国的优秀纪录片作品获奖。其制作国家以美国为主,占据119部(其中含合拍10部),英(11部)、德(2部)、法(9部)、荷(3部)、加(5部)等主要发达国家都有获奖,中国、印度、巴基斯坦、津巴布韦、墨西哥等发展中国家也各有一部获奖。从历年的评奖规则来看,奥斯卡并未对纪录片的题材、内容、制作方的国别甚至是表现形式作太多限制,这一较为开放的规则实现了奥斯卡纪录片的兼收并蓄,从制度层面保证了其多元化的作品多样性。奥斯卡官方网站已经公布2014年第86届纪录片评比作品的评选规则,其中对于纪录片的定义保持不变：“取得获奖资格的纪录片从理论上必须为非虚构的影片,涉及文化、艺术、历史、社会、科学、经济以及其它领域。在强调事实和非虚构的情况下,纪录片是对真实事件的拍摄,可以运用部分情景再现、影片资料、剧照、动画、单格拍制以及其它拍摄技术。”从规则中可以看到,这一定义最基本的要求就是“非虚构”,对于具体制作手段没有太多限制。因此,是否可以给纪录片一个合理的概念限定,本文认为可以在非虚构性的前提下做如下定义：纪录片是对客观对象的再现与非虚构记录。纪录片可以实现重大事件的历史记录,虽然并非所有纪录片都是一种镜像式的记录,但奥斯卡的获奖纪录片与同时代的社会有紧密的联系,无论是战火硝烟的影像记录、动荡不定的社会生活还是拓展视野的后911时代,社会的多元化造就奥斯卡获奖纪录片的多元化。奥斯卡成就了诸多优秀纪录片,也成就了一大批纪录片导演,奥斯卡获奖纪录片的导演也和纪录片本身一样表现为多元化,有一百余名不同肤色、性别、文化背景的导演获奖。奥斯卡的颁奖从其本质而言属于一种商业化的电影推销手段,但开设纪录片奖以来,众多获奖纪录片浓缩了同时代的历史,同样也是对未来的展望。72年的奥斯卡获奖作品就是72年的相册,反映了话语权的改变、视野的变化,并且商业价值不断得到凸显。由于纪录片本身的纪实特性,145部纪录片可以给同时代的美国乃至世界描绘出一幅基本完整的社会全景图。无论是战争,还是环境、医疗、同性恋、贫困问题……基本被纳入奥斯卡获奖纪录片选题的视野。国际化的视野也使奥斯卡获奖作品呈现一种“地球村”的互视,奥斯卡纪录片选题的多样性是其多元化的重要保障。奥斯卡获奖纪录片的多元化不仅体现在内容和选题上,对于其叙事方式进行考察可以发现其仍然存在着多元发展的态势,叙事风格也存在着明显的转向,从早期格里尔逊式纪录片的解说词灌输教导到直接电影为主要形式的客观观察式记录,直至今天的带有明显故事性、“虚构性”的新纪录电影,奥斯卡获奖纪录片经历了一个故事化叙事风格的转向。国际化与商业化类型的纪录片并不违背奥斯卡对于纪录片选择的规则,同样符合美国的传统理念和主流文化,成为纪录片多元化格局的一个重要方面。其中直接电影形式的纪录片是一种“零度”的记录,新纪录电影则掺杂较多的主观因素。奥斯卡原本是一个美国国内的奖项,应该说和中国本无必然的联系,但在全球化、多元化的态势之下,特别是纪录片奖项长期以来坚持的开放原则,奥斯卡对于中国存在一定的影响与联系。奥斯卡开设纪录片奖以来有意无意之间形成多元化的格局,中国以其国际社会中的重要地位和题材资源的多样性,中国问题、中国元素也应是“多元”中重要的一支。奥斯卡获奖纪录片中直接和中国相关的只有《颖州的孩子》和《从毛泽东到莫扎特：1979年斯坦在中国》两部,但介入角度较为片面和受到限制,只能是一种隔着车窗的“观看”。由于缺乏双向与全面的真实沟通与交流,不仅国外观众对于中国存在隔着车窗的“观看”这样一种不真实的感觉,中国观众对于奥斯卡纪录片的认识也存在偏颇,即中国观众也可能下意识地从中国的视角去理解它们,自身的偏见会使中国观众非理性的设想奥斯卡纪录片一定会蓄意破坏中国形象,从而对其产生偏见,带着“偏见”看“偏见”呈现一种双重偏见。纪录片对于自然与社会的真实记录与再现本身就弥补了奥斯卡过于商业化、娱乐化的缺陷,也是奥斯卡的一种救赎。在多元化的背景下,中国纪录片也应该以自己的特色内容加入到多元化的奥斯卡选题之中,以增加奥斯卡纪录片的全面性和多元性。纵观72年的奥斯卡获奖纪录片,多元化的格局已经形成,但也有进一步发展的空间。中国元素、中国纪录片更多地加入到奥斯卡的行列将是奥斯卡完成自我救赎的不二选择,也是完善其多元化的重要补充。更多还原

【Abstract】 Documentaries are regarded as the context of human survival; therefore most countries of the world highly emphasize the cultural inheritance of documentaries. From1942, since Canadian documentary "Churchill’s Island" was awarded the best documentary by the Academy,145excellent documentaries from different countries have been awarded till2013, most of which were produced by U.S. The majority of developed countries were awarded the best documentaries such as U.S.(119films, including10joint-produced films), Britain (11films), Germany (2films), France (9films), Holland (3films), Canada (5films), and etc. Some developing countries like China, India, Pakistan, Zimbabwe, Mixco and etc. were also awarded one best documentary respectively.According to the awarding rules over the years, the Academy has not conducted many restrictions in the aspects of documentary styles, contents, nationalities, even the expressive forms. This kind of relatively open rules is in favor of cultivating all-embracing characteristic of Oscar-winning documentaries, which guarantees the pluralism and diversity of documentaries.Oscar official website has already published the selection rules of the86th event in2014, in which the definition of documentary keeps the same as before, that is,"An eligible documentary film is defined as a theatrically released nonfiction motion picture dealing creatively with cultural, artistic, historical, social, scientific, economic or other subjects. It may be photographed in actual occurrence, or may employ partial reenactment, stock footage, stills, animation, stop-motion or other techniques, as long as the emphasis is on fact and not on fiction." In the rule, we find that the basic requirement of documentaries is "non-fiction", but few rules are regulated to restrict the detailed producing methods. Accordingly, in this thesis a reasonable definition can be given in the premise of "non-fiction":Documentary is the representation and non-fiction record of objective subjects.Documentaries can be the historical records of important events. Though not all the documentaries are the mirror images, Oscar-winning documentaries are closely connected with contemporary society. No matter what they are about, mirroring records of wars, unstable society and life or expanding horizons of post-911age, the pluralism of society contributes to pluralism of documentaries. Oscar offers great opportunities for people to present many excellent documentaries, and it also offers great opportunities to a lot of documentary directors with pluralism, which can be reflected by the fact that more than100directors are awarded regardless of their race, gender, and cultural background.Oscar award is in nature a kind of commercialized film promotion, but since the first documentary awarding, many Oscar-winning documentaries have been the essence of contemporary history as well as the prospect of future.72-year-old of Oscar-winning documentaries is actually the album of72years of experience, which has witnessed the profound change of discourse power and horizon and the prominence of its commercial value.Because of the fact-recording characteristic,145Oscar-winning documentaries depict a relatively complete social panorama of U.S. and even of the whole world. No matter which issue it is, the issues of war, environment, medical care, homosexuality or poverty are generally put into the horizon of selecting Oscar-winning documentaries. This diversity of documentary topics is an important guarantee of pluralism.The pluralism of Oscar-winning documentaries is reflected not only by contents and topics, but also by narration styles. The studying on documentary narration styles also shows its pluralism tendency, diverting from Grierson style with commentary full of inculcation and instruction, objective observation and record mainly presented by direct fihns to today’s new documentaries with obvious characteristic of story-telling, which shows the diversion to narration of story-tell. The internationalized and commercialized documentaries in fact do not break the Oscar selection rules; meanwhile they also conform to American traditional notions and mainstream culture, which becomes an important aspect of documentary pluralism. If the direct form documentaries are kinds of "zero degree" record, new documentaries will involve more subjective factors.Oscar was originally a national award of U. S. which was not necessary related to China, but in the situation of globalization and multi-source, especially in the long-persistent opening principle of documentary awarding, Oscar award has been connected with and influencing China to certain extent.Since the first Oscar awarding of documentaries, the situation of pluralism has consciously and subconsciously formed. In this situation, China and its high international position and the diversity of its subject matters should belong to one part of Oscar awarding pluralism.Though the Oscar-winning documentaries,"The Blood of Yingzhou District" and "From Mao to Mozart:Isaac Stern in China", are directly connected with China, their producing angles are partial and limited, from which China seems to be observed from "windows". Due to the lack of mutual and thorough communication, not only may foreign audience get the unreal impression of China by watching it from "windows", but also Chinese audience may get the partial understanding of Oscar-winning documentaries, that is, Chinese audience may also subconsciously interpret the documentaries from Chinese perspective in which they may take it for granted that Oscar-winning documentaries will destroy Chinese image, hence they will watch the biased documentaries with biased view. Consequently, there exists dual prejudice.The real record and representation of nature and society by documentaries compensate the disadvantages of over-commercialization and amusement of Oscar, which is a kind of its redemption. Under pluralism background, Chinese documentaries should be focused on the diversified topic selection of Oscar by making full use of their own specific contents so as to enhance Oscar completeness and pluralism.In the72-year-history of Oscar-winning documentaries, the situation of pluralism has been formed, but there is still room for further development. The join of Chinese documentaries with Chinese elements into Oscar will become its important choice for redemption, and it is also a crucial supplement to accomplish Oscar pluralism.更多还原