【作者】 宋素丽；

【导师】 宋家玲；

【作者基本信息】 中国传媒大学 ， 电影学， 2008， 博士

【摘要】 这是一篇在叙事心理学视野中对1978-2008年间的中国纪录片及纪录片创作者进行关照和描述的论文。文章认为:在1978-2008三十年间,中国纪录片创作者的自我特征呈现出一个不断裂变的轨迹,即:我们-实体自我-关系自我-叙事自我。且每种自我特征的出现不是朝代更替式的“你方唱罢、我就登场”的状况,而是一个“你中有我,我中有你”的共处形态,只是在特定时期会有某种特征显现得最为清晰。全文分为七个部分,包括绪论、五个章节和结语。研究表明,心理学研究对象的每一次调整都会引发人们对社会生活的新的理解和把握,对影视创作和研究也不例外。叙事心理学是心理学研究后现代转向过程中形成的新的流派,其研究对象是“人类的生活故事”,而纪录片中呈现的也是生命个体或群体的生活故事。心理学和影视第一次实现了研究交集的最大化。因此,作为基础学科,叙事心理学的许多理论成果和方法都可以直接应用到纪录片的研究中,从而为纪录片研究提供新的研究视角、新的研究方法,进而得到新的研究成果。在论文绪论中,笔者直接阐述了研究的目的和意义:采用一种新的研究取向,使中国纪录片的研究从文本研究进入创作者研究和观众心理研究。论文第一章从三个方面系统梳理了心理学和影视的关系:不同的出发点、相同的目的地。这部分是本次研究得以展开的前提。在详细分析心理学和影视在理论上互相滋养、实践中相互印证的基础上,分析了叙事范式下二者的研究交集不断扩大的趋势。进入第二章,论文重点介绍了叙事心理学的产生背景、理论渊源、研究对象和研究目标。这部分是对本次研究所选择的理论视野进行界定,也是为纪录片研究者和创作者进行理论方面的全面推介。文章阐述了心理学研究发展到现代心理学阶段时遭遇的困境和学者对这种困境的反思、调整。这种反思引发了20世纪60年代起心理学研究的后现代转向:从机器隐喻进入叙事隐喻。同时,也促使已经经过了触发期、萌芽和成长期的叙事心理学进入成熟期,在众多心理学流派中脱颖而出。由于其和人类生活的接近,使得心理学从精神病学研究进入人类生活研究,致力于健康心灵与和谐生活的建构。在第三章中,当将中国纪录片的研究带入叙事心理学的理论视野时,发现了二者有相同的哲学基础,即:社会建构论——一种新的认识论,一种社会科学、人文科学的研究取向。从这个研究取向出发,本章的重要意义在两个方面体现:首先,中国纪录片中两个一直僵持不下的争论有了突破:一是“虚构与非虚构”的“实在论”之辩;二是“真实与真实感”的“本质论”之辩。其次,新取向带来了新方法,基于“对话(互主体性)”立场的叙事心理学研究方法不但让纪录片研究者的视线从纪录文本拉开,聚焦纪录片创作者,还提供了一整套系统、科学、操作性强的研究程序和叙事分析方法。之后的研究证明,正是这种方法的先进和规范让笔者对1978-2008三十年间的纪录片研究不同于之前这个领域中的意识形态批评、本体研究、美学研究、文化批评等对纪录文本的关注,开始进入了纪录片创作者心理的分析和描述,并在时代和文化背景中勾勒出了创作者的自我特征呈现轨迹。第四章是论文的重点,也是整个研究的研究报告。为使研究结论和报告内容清楚明了,在简单介绍基本概念后,本章先推出了一张彩色的“中国纪录片创作者自我特征呈现脉络图”。先是对图表的主要构成部分的说明。具体包括线段设计的喻意、特殊年代标识的原因、各条线索的发展脉络和创作者分布状况,并对几个主要的自我特征:我们、实体自我、关系自我、叙事自我进行了界定。紧接着,文章从“我们:苏醒·意象·反思”、“‘实体自我’:寻找·疗伤·回归”、“‘关系自我’:时间·呈现·尊重”三个方面全面细致地对中国纪录片创作者不同自我特征的形成背景、叙事形式、叙事内容进行了理性分析,并试图用叙事的方法感性还原这整个发展过程中创作者心灵、时代心灵和被摄主体心灵交融、碰撞、相互建构的生动图景。本章结束时,分析了1995年之后,在中国社会被全面推向市场的大形势下、整个电影和电视行业在消费文化、娱乐风潮等复杂状态中不得不逐步将观众彻底推到前台,掌握媒体主要发言权的时代背景。置身其间的中国纪录片由盛而衰、创作者被迫研究观众心理,并重新认识纪录片叙事特性,思考创作者的“角色采择”立场。“叙事自我”的自我特征尤为清晰。第五章则从观众的好奇心理、快乐心理、游戏心理三方面分析了纪录片创作者选择“叙事自我”的角色采择立场后应该采取的叙事策略。结语部分,文章提出叙事时代的纪录原则可以用四个字概括,即:不“讲”道理。这一原则中蕴含的纪录精神则体现为人类建构和谐生活故事的能力和素养。在叙事成为心理学研究的根隐喻的背景下,每个人的一生都会是一个完成自我叙事的过程。任何人都可以成为自己生活故事的纪录者,都可以在社会语境中确立“和谐与爱”的故事主题,通过不断链接叙事线索,拓展叙事空间、从而使人生故事的情节走向趋向积极或者平缓,体会生命力量,传递爱的讯息。无论怎样,真正的纪录都是向着这个方向行进的。更多还原

【Abstract】 This dissertation mainly puts focus on the study of China’s documentary films and the description of the psychology of creators and audience during 1978-2008 from the perspective of the narrative psychology. Generally speaking, during the 30 years from 1978 to 2008, the characters of the creators of China’s documentary films assume a track of being continuously self-fission, that is, there has been a development of“self---self-substantial---self-relations---self-narratives”,and all these“self”-characters are coexisted instead of being appeared one by one, even though there may have some particular character in some particular period.The dissertation contains 7 parts, including the preface, 5 chapters and the conclusion.The study shows that, each adjustment of the research objects of psychology is definitely sure to cause the current change for people on understanding and accepting of the social life, and the research on the creation of television & films has no exception. The narrative psychology is a viable alternative to the positivist paradigm, and mainly contributes to the study of“human life story”; the documentary films also put the views on the“life story”of human individuals or groups. In this sense, psychology and the creation of television & films have some common characters ultimately for the first time. Many theories and methods of narrative psychology can also apply to the research of the documentary films so as to provide a newly perspective and research method on the study of documentary films, and to make some achievements in this field.In the preface, the author sets forth her position directly on the aims and the significance of the study, that is, the transformation of the study on China’s documentary films form the texts to the creators and audience with a new perspective. In the first chapter, the author discusses the relationship between the psychology and the creation of television & films from three aspects and this chapter can be concluded as the essential prerequisite for the following chapters, including the analyses sufficiently on the tendency of the enlarging of the common characters between narrative psychology and the creation of television & films in the view of the narrative mode.In Chapter 2, the authors emphasizes on the background and the theoretical origin of narrative psychology, the objects and targets of the research, etc. It mainly defines the study field which is selected in this dissertation and introduces the fundamental theories for the researchers and creators of documentary films. Firstly the authors expounds the situation of the study on psychology and the relevant self-questioning and adjustment made by the psychologists, which caused the transformation to positivist paradigm on the study of psychology directly; that is, the transformation from the metaphor on mechanism to the metaphor on narrative. Furthermore, this transformation accelerated the mature of narrative psychology and made it an independent school, which turns its targets from psychiatry to human life and emphasizes the construction of healthy souls and harmony life In Chapter 3, the author contributes to the philosophical foundation shared by narrative psychology and China’s documentary films---a new epistemology---construction of society, which is a new perspective on the study of social science and human science.On the one hand, the two arguments in China’s documentary films come to the end: one is the argument on substantial between the“fabrication”and“non-fabrication”; the other is the argument on essence between the“reality”and the“sense of reality”. On the other hand, the new perspective borrowed from narrative psychology provides a series of systematical and operative research procedure and narrative analysis methods so that it has come into the reality that the researchers of China’s documentary films have turned their views from the texts to the creators of documentary films. The following study indicates that it is because of the adoption of the new perspective that the author can make a newly analysis and description of psychology on the creators of documentary films during the thirty years from 1978 to 2008, which is quite different from the traditional research aspects in this field, such as the criticism on ideology, the criticism on culture, the research on objects, the research on aesthetics, etc, and draws the track of self-characters creators of China’s documentary films in the background of times and culture.The fourth chapter is a research report and the prominent part of the whole dissertation. In order to make the conclusion clear and easy to understand, there is a diagram on“self-characters of creators of China’s documentary films”showed in this chapter after making brief introduction of some definitions.Firstly it comes to the illustration of the diagram, including the metaphor on segment of line, reasons of signs in particular times, the development track of each line and the distribution of creators, and puts emphases on the definition on the“self”-characters, such as self, self-substantial, self-relations and self-narratives. Then the author makes an illustration sufficiently and in details from three aspects on the background, the narrative forms and the narrative themes of China’s documentary films, and attempts to return to its original condition and construction among the creators, the society and the recorded subjects.At the end of this chapter, the author explores that, after the year of 1995, under the great influence of the amusement of television & films and the consumption of the culture, the creators of China’s documentary films had to re-judge the status between the objects and subjects, had to pay more attention to the psychology of the audience, had to reevaluate the narrative character of the documentary films, and as a result, there appears a significant character of self-narrative during this period. The last chapter mainly discusses about the narrative strategies which should be adopted by creators of documentary films from the psychological analysis of audience, for instances, the curiosity, the happiness and the recreation.In the conclusion, the author promotes that the spirit of documentary films in the narrative times should be the ability and the accomplishment of constructing a harmonious life story.Under the background that the narrative has become the root metaphor of study on psychology, each human being’s life can be regarded as a process of achieving self-narrative, every human being can be the recorder of own life, and expounds the theme on“harmony and love”in the social context by linking the narrative elements, enriching the narrative space so as to make the plots of the life story positively or calmly, for it is the only tendency for the genuine documentary films.更多还原