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近年来,我国纪录片的画面形象有一个突出的特点,即老房子、老照片、老人和小人物(“三老一小”)占据了主角的位置,几乎成了纪录片创作题材的首选。纪录片创作者已经形成了“三老一小”情结,“三老一小”似乎成了纪录片创作的不二法宝, 谁要去碰它,肯定能“火”。与此同时,“三老一小” 业已造就了纪录片创作领域的新的神话,这种现象很值得我们关注。一 “三老一小”现象的出现既与纪录片创作观念的变化有关,也与社会文化生态的整体变迁密不可分,可以说现代化转型期衍生的社会心理结构形成了纪录片“三老一小”现象盛行的根本文化动因。
In recent years, the documentary image of our country has a prominent feature: the old house, the old photos, the elderly and the little people (“Three Old and One Small”) occupy the leading role and become the first choice for documentary creation. The documentary creator has formed a “three old and one small” complex. “Three Old and One Small” seems to be the only magic weapon for documentary creation. Whoever touches it certainly can “fire”. At the same time, “Three Old and One Small ” has created a new myth in the field of documentary creation, which is worth our attention. The emergence of “three old and one small” phenomenon is not only related to the change of documentary creation concept but also to the overall change of social and cultural ecology. It can be said that the social psychological structure derived from the transformation of modernization has formed a documentary “ Small ”phenomenon prevailing fundamental cultural motivation.