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纪录片的生成可视为一种主客体间关系建构的行为过程。在对“真实”的价值诉求上,纪录片与人类学民族志方法有着深刻的精神契合。首先,纪录片的“在场纪录”与民族志的“田野调查”一样,都将“真实”建立于主体与对象性“他者”的亲在共存的关系之上。其次,人类学自20世纪60年代以来由科学的民族志发展而为以“深描”为特点的解释人类学模式,从而揭示了民族志“书写”、建构的本质。与之相似,纪录片的“真实”理念也经历了由“再现”到“虚构”的后现代转变,其“客观化”和“阐释”等手段的运用同样表明纪录片的“真实”本身就是主体性建构的结果。最后,人类学和纪录片的主体建构行为机制中都包含了一种“看”与“被看”的权力格局,作为一种不平等的权力结构模式,权力之眼的“看”势必给人类学和纪录片带来伦理层面的价值考验,也为“真实”命题引入了“人学”意义的思考。
The formation of documentary can be regarded as a kind of behavior process of constructing the relationship between subject and object. In the pursuit of the value of “real ”, there is a profound spiritual fit between documentary and anthropological ethnography. First of all, the documentary’s “presence record”, like the ethnographic “fieldwork”, establishes “true” on the coexistence of the subject and the “other” object. Second, since anthropology was developed from the ethnography of science since the 1960s, anthropology has been interpreted as an anthropological model characterized by “deep drawing ”, revealing the nature of ethnography “writing ” and construction. Similarly, the “truth” concept of the documentary has undergone a postmodern shift from “reproduction” to “fictionalization.” The same applies to such means as “objectivity” and “interpretation” The documentary’s “truth” itself is the result of subjectivity. Finally, both the anthropological and documentary constructs of human behavior contain a pattern of power that looks and behaves as an unequal pattern of power structure and the power of the eye “It is bound to bring ethical values to ethnology and documentary tests, but also to ” real “proposition ” human "meaning of thinking.