传播与传承:中国乡村纪录片的精神向度——以《俺爹俺娘》和《乡村里的中国》为例  

For Publicity for Inheritance:the Spiritual Pursuits of Documentary Films on Rural China,with a Case Study of My Mother,My Father and The Rural China

作　　者：彭翠[1] 

机构地区：[1]河北大学新闻传播学院,河北保定071002

出　　处：《井冈山大学学报（社会科学版）》2017年第5期121-126,共6页Journal of Jinggangshan University(Social Sciences)

基　　金：国家社科基金项目"提升中国文化在东盟的影响力研究"(项目编号:13BMZ048)

摘　　要：纪录片作为文化产业的重要商品样式和国家宣传体系的主要载体,在政策、环境和媒体等因素的共同影响下已经拥有了前所未有的发展前景。在这一语境之下,如何制作出既接地气又具有精神向度的文化产品,进而承担起中国乡村纪录片的传播功能和传承使命,成为广大媒体人的共同追求。出身于农村的摄影师焦波,凭借多年来对农民与乡村的深切理解和生活实录,相继推出了纪录片《俺爹俺娘》和《乡村里的中国》,并引起了社会的巨大反响。研究以此为切入点,探讨了乡村纪录片应有的历史职能、精神向度和美学品格。As an important cultural commodity type and a major vehicle of national publicity, documentary films now enjoy unprecedentedly promising prospective, thanks to the dynamics from Chinese policy, environment and media factors. Such a situation calls Chinese mass media practitioners to make socially realistic and spiritual idealistic cultural products that publicize the rural China and inherit it culture. The works of rural -born photographer Jiao Bo give an answer. Owing to his years -long observation and understanding of Chinese peasants and the rural part of the country, he yielded his amazing documentary films My Mother, My Father and The Rural China. With a case study of the works, this paper explores the indispensable elements of rural -themed documentary films： historical missions, spiritual pursuits and aesthetic qualities.

关 键 词：传播与传承 乡村纪录片 精神向度 美学品格 

分 类 号：J952[艺术—电影电视艺术]