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我们在生活中对一事物的认识往往会有这样的体验,如果我们假设把眼前的一扇窗户当作认识事物的特定视窗,透过其视窗所看到景物的多少,是与我们离视窗的远近有关系的。由于我们的视野受到视窗的一定局限,所以距离远看到的景物就少,距离近看到的景物就多,距离的远与近决定着创作者对客观事物的感知程度。从纪录片创作角度讲,距离,特指创作者对客观事物的感知程度。其实,我们是想借助距离概念的远、中、近来说明创作方式可分为第一视点、第二视点、第三视点(如图1所示)。三个视点之间不仅仅
Our experience of a thing in our life often has such an experience. If we assume that the window in front of us is a specific window of understanding, the number of scenes we can see through its window is a distance from us There is a relationship Since our field of vision is limited by the view of the window, there are fewer scenes to be seen from far away, more scenery from the near to the distance, far and near of the distance determine the creator’s perception of objective things. From the perspective of documentary creation, the distance refers specifically to the creator’s perception of objective things. Actually, we are trying to make use of the concepts of distance, far and near, and recently we can see that the mode of creation can be divided into the first point of view, the second point of view, and the third point of view (as shown in Figure 1). Not only between the three points of view