【作者】 马修伦；

【导师】 林少雄；

【作者基本信息】 上海大学 ， 电影学， 2013， 博士

【摘要】 在新中国成立后到文化大革命结束这段特殊的历史时期里，中国电影生产运作机制进入了高度意识形态化时期。作为电影艺术的重要亚类型之一，纪实影片被权力机构定位为“形象化的政论”。本文以这一时期的纪实影片为研究对象，以传统文化观念为视角，重点考察这一时期纪实影片与传统文化观念之间的关系。通过研究本文认为，这一时期的纪实影片对传统观念进行了呈现与重构，并将这种呈现与重构作为一种影像修辞和话语策略加以使用，以实现纪实影片创作的目的表述。具体来看，首先这一时期的纪实影片创作中，“载道”功能是其最突出的价值特点；其中体现的由“天人合一”转化而来的“人定胜天”的自然观，与当时社会建设的现实要求与情感鼓动宣传相关；新的政府和执政党在塑造其合法地位的要求表述方面，纪实影片借助了“家国同构”的传统观念加以完成；为了更好地实现意识形态的表述，该时期的纪实影片借用了剧情电影的“影戏”观念与“影戏”手段、民俗和传统艺术形式，通过这些手段和方式的使用提高了影像的修辞表达能力。传统观念在这一时期的纪实影片中充当了意识形态影像展示的修辞手段和话语方式。其次，这一时期纪实影片与传统观念之间重构的原初动力，来自于对政治意识形态的传播与宣传的目标要求，来自于社会文明形态的发展变化，更来自于不同历史时期对艺术形式的不同价值观念定位。该时期的纪实影片中对许多观念的极端强调（如“载道”、“家国同构”等观念在意识形态上的偏执和滥用），直接导致了观众与众多艺术工作者对这些观念的排斥和抵触，也造成了这些观念在政治传统道路上表述的终结；并推动新时期的纪实影片在表述目的和表述方式上走向多元共生之路。再次，时代纪录影像与传统观念之间呈现出错综复杂的矛盾辩证关系：它们之间形成了一种既反对又借用，既抵抗又发展，既排斥又必须在一定程度上共融的关系。立足当下回望新中国成立后近三十年间的纪实影片，已经作为一种历史景观和历史文本存在，成为现代性与后现代性影像建构的参照物象。文章共分为下述部分：绪论部分除阐明本论文写作的背景和研究缘起外，重点对研究视域内国内外文献资料进行综述，从而发现本论题得以成立的前提，并为本文的研究提供学术背景和方法。第一章总体上对1949—1976年间的纪实影片进行概貌总结，主要对当时的创作环境与创作状况进行归纳与分析；并试图概括出其总体特点，以便为下面的论述提供基础。第二章从中国传统的自然观“天人合一”入手，论述1949—1976年的纪实影片呈现出“人定胜天”的表征，这一表征的形式是“天人合一”观念在新的历史时期的异化。本部分结合影像文本，重点从题材角度分析了阶级斗争、现代化建设、科考等方面的纪实影片中，对“人定胜天”观念的呈现与重构；同时，从人物造型、自然造型、场景造型、氛围造型等影像本体角度，分析了纪实影片对“人定胜天”观念的呈现与重构，以及这一现象形成的深层原因。第三章从对中国传统政治伦理观念“家国同构”渊源的探究出发，论述了该观念在中国电影中的发展，然后从劳动场景、人物身份、解说词等方面阐述了“国家利益”至上的特点；通过纪实影片题材的选择、民众对“政党”与“国家”情感的微妙差别等角度论述了“国党”符号的合二为一；从劳动场景与生活空间等方面论述了私人空间的“国有化”；从性别定位，特别是女性身份定位体现出了国家中心的特征。在此基础上，纪实影片实现了多层次、多维度地对“家国同构”观念的呈现与重构。第四章论述了从中国传统文艺价值观念“文以载道”在电影中形成“影以载道”的过程；在长期的历史发展过程中，“载道”也成为中国电影的传统观念，并通过叙事结构、场景渲染、色彩修辞强化等角度，论述了这一时期的纪实影片对“载道”观念的呈现与重构。第五章从中国电影“影戏”观的形成与发展着手，论述了这一时期的纪实影片在人物形象的定型化、字幕与解说的程式化、幕表式的叙事单元、以人物为中心的叙事策略、以及注重表现而疏离写实等方面，对“影戏观”的呈现与重构。第六章结合传统民俗、民族艺术、以及少数民族艺术形式，论述了纪实影片对传统民俗、民族艺术的呈现与重构。第七章作为延伸和总述，在前六章的基础上对该时期的纪实影片与传统文化观念之间的关系进行了反思，认为该时期的纪实影片对传统观念的呈现与重构存在着历史的必然性及矛盾性；这种呈现与重构有明确的意识形态目的，体现了政治想象与观念引导的纠结；传统观念在纪实影片中作为一种影像修辞与话语策略存在。时至今日，当时的纪实影片作为一种社会历史景观和历史文本，成为进一步了解当时艺术形式与社会现实关系的独特影像文本。更多还原

【Abstract】 From the founding of the Republic of China to the end of the Cultural Revolution,China entered a highly ideological period. So the film production and operationbecame one part of the national system. As one important type of film art,Documentary Film is also showing the distinctive “figurative political commentary”feature.In this paper, the Documentary Film of this period as the research object, fromthe perspective of traditional cultural values, focuses on the Documentary Film andthe relationship between traditional cultural values. The paper argues that, in order toachieve the purpose of documentary films, the presentation and reconstruction of thetraditional concept as rhetorical and discursive strategies to be used. Specifically, inthe documentary films, the " conveying truth " function is the value of its mostprominent features; as the social construction of reality and emotional agitationpropaganda related requirements, which embodied by the " man is an integral part ofnature " transformed from the " man can conquer nature " view of nature; newgovernment and the ruling party in shaping the requirements expressed its legal status,the documentary films with the "home country isomorphic " for it; in order to better arepresent ideology, this period documentary films borrows drama movie "Shadowplay" concept and "Shadow play" means, folk and traditional art forms, through theuse of these means and methods to improve the image of the rhetorical skills.Traditional concept of documentary films in this period served as a means ofideological rhetoric and image display mode of discourse.Secondly, reconstructed original impetus of the traditional concept anddocumentary films comes from the spread of political ideology and propagandaobjectives and requirements, from the changes in the development of socialcivilization, but also from different historical periods of art forms and the positioningof different values. many of the extreme ideas(such as " conveying truth ","homecountry isomorphic " and other concepts in the ideological paranoia and abuse) in documentary films led directly the audience and a number of artists to exclusive andconflict, but also caused these ideas expressed in the political tradition of the end ofthe road; and promote documentary films in the new era to the formulation andpresentation purposes to the symbiosis way.Once again, between the times image and the traditional concept showing acomplicated contradictions and dialectical relationship: they formed a kind ofopposition and borrowing, both resistance and the development,and both exclusionand inclusion. Look back the documentary films in three decades after the founding ofNew China currently, it has been used as a historical Spectacles and historical texts, asmodernity and post-modernity constructed reference object.The article is divided into the following sections:The introduction part is to clarify the background and previous studies at home andabroad, and for the present academic background and research methods and the backstudy.On the first chapter, it is the summarized overview of the documentary films from1949to1976in China, mainly focus on the environment and the works.Chapter two starts from the traditional Chinese view of nature from “man is anintegral part of nature”, the documentary films from1949to1976showcharacterization of “man can conquer nature”, and argue that the characterization ofthe form of “man can conquer nature” in the special historical period is a alienation.As the image text, this part focus on themes from the perspective of the class struggle,modernization, scientific and other aspects to discuss the presentation andreconstruction of the “man can conquer nature”; and also from the character modeling,natural shape, scene modeling, atmosphere modeling, and other body imageperspectives to analyze the presentation and reconstruction the “man can conquernature” in documentary films. And also analyze the underlying causes further.The third chapter on the Chinese traditional political ethics “home countryisomorphic”,discusses the development of the concept in the Chinese films, and fromthe labor scene, character identity, commentary, etc. describes “national interest for all” features; through choice of the subject and from the emotional perspectivediscusses people and the “party” and “national” combine “National is Party”; fromlabor and living space, the article discusses the individual space becomes“nationalization”; gender orientation, especially female identity positioning reflectsthe characteristics of the “national is all”. On this basis, documentary films achieve amulti-level, multi-dimensional manner on the “home country isomorphic”.Chapter IV argues that “writing conveying truth” is the Chinese traditional artvalues, in combination with lighting technology formed a “film conveying truth”concept; in the long process of development,“film conveying truth” also has beenChinese traditional concept of the film. Then through narrative structure, scenerendering, color enhancement and other rhetorical discourse analysis perspective,consider that this period’ documentary films on “film conveying truth” has beenpresented and reconstruction.Chapter V argues that the “shadow drama” concept is the Chinese film traditionalformation. discuss the “shadow drama” presentation and reconstruction in this period’documentary films: stereotyped characters, subtitles and commentary stylized, curtainstyle narrative unit table to figure as the center of narrative strategy, and a focus onperformance rather alienated realism, etc.Chapter VI argues the presentation and reconstruction such as traditional folk artand ethnic art forms. The conclusion is that documentary films have also beenpresented and reconstructed them.Chapter VII, as the extension and summary.I will re-exam and reflect therelationship between the traditional cultural values and documentary films in thisperiod from the culture studies perspective, and argue that the relationship ofpresentation and reconstruction is the historical necessity; but, this presentation andreconstruction contains a clear ideology purposes, reflecting the tangle of the politicalimagination and ideas to guide; while this is also a video presentation andreconstruction of rhetoric and discourse strategies. Today, they have been used associal and historical spectacles and become the understanding of what forms of artand social reality image text.更多还原