论“怀斯曼神话”  

On the “Wiseman Myth”

作　　者：王迟[1] 

机构地区：[1]中国传媒大学

出　　处：《电影艺术》2017年第4期136-141,共6页Film Art

摘　　要：美国导演弗雷德里克·怀斯曼对20世纪90年代中国纪实主义纪录片的发展曾产生过重要影响。本文提出,过去20多年来,中国纪录片界对怀斯曼的认识与理解与实际情况并不符合。在美学上,怀斯曼的创作理念、手法与西方传统的直接电影或中国的纪实主义所主张的客观性原则判然有别;在政治上,怀斯曼作品含义模糊,缺乏足够的介入社会的勇气,这也与我们长期以来的认识截然相反。基于这样的判断,本文提出了"怀斯曼神话"的概念和重估20世纪90年代中国纪录片的问题。American documentary filmmaker Frederick Wiseman influenced the development of Chinese documentary in the 1990s to a great extent. In this paper, I argue that Chinese documentary filmmakers and critics misunderstood Wiseman＇s aesthetics and politics in the past two decades. Aesthetically, Wiseman＇s idea and technique are different from the traditional direct cinema and the Chinese jishi-ism （jishi zhuyi） documentary; the meanings of Wiseman＇s works are vague, and no political commitment can be easily traced. Based on these facts, I put forward the concept of ＂Wiseman myth＂ as well as the necessity to re-evaluate the 1990s Chinese documentary.

关 键 词：怀斯曼神话 虚构 社会意义 新纪录运动 

分 类 号：J952[艺术—电影电视艺术]