中国警察影像纪实美学的两种视角  

The Two Angles of Documentary Aesthetics in Chinese Videos about the Police

作　　者：彭耀春[1] 

机构地区：[1]江苏警官学院,教授210012

出　　处：《江苏社会科学》2009年第4期148-153,共6页Jiangsu Social Sciences

基　　金：江苏省高校哲学社会科学研究项目<警察影象--中国公安题材影视创作研究>(批准号:06JSB760009);江苏省社会科学基金项目<中国警察影像研究>(批准号:08YSB015)阶段性成果

摘　　要："纪实"对于中国警察影像具有特殊的意义。1994年以《九·一八大案纪实》和《西部警察》为标志,中国警察影像的纪实美学完满形成并达到高点。2005年,以电影和电视剧《任长霞》为标志,警察影像的纪实风格因典型宣传再次得以强调和张扬。中国警察影像的"纪实"美学主要表现为真实性与新闻性的结合、行业性与普泛性的结合、平凡性与英雄性的结合、罪与罚的敞开性与遮蔽性的结合。＂Documentaries＂ are of special significance to Chinese videos about the police. In 1994 A Documentary of September 18th Case and The Western Police marked both the establishment and the peak of documentary aesthetics in Chinese videos about the police. In 2005 the film and the TV drama both entitled Ren Changxia marked both the emphasis and the publicity given to the documentary style of videos about the police. Documentary aesthetics in Chinese videos about the police is represented by the combination of authenticity and journalism, of speciality and generality, of commonness and heroism, of overtness and covertness of crime and punishment.

关 键 词：警察影像 纪实美学 历时性描述 共时性阐释 

分 类 号：J905[艺术—电影电视艺术]