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作 者:大卫.苏泰拉 高佳佳 David M Sutera1 ,GAO Jiajia2(1. Doane University in Crete, Assistant Professor of Communication Department, Nebraska 68333, USA ; 2. Beijing Sport University, School of Journalism and Communication ,Beijing 100084,China)
机构地区:[1]多恩大学 [2]北京体育大学新闻与传播学院,北京100084
出 处:《体育与科学》2018年第2期46-55,共10页Sports & Science
摘 要:本文考察了作为纪录电影亚类型的奥运纪录电影的历史,以及它们如何表征民族主义和在大众文化中进行宣传。从历史语境出发,借鉴比尔·尼科尔斯在《表征现实》一书中对纪录电影类型的划分标准,本文细致解读文中提到的每一部电影和电视节目的叙事结构、类型特征和修辞策略。通过分析莱尼·里芬斯塔尔的《奥林匹亚》、市川昆的《东京奥林匹亚》以及巴德·格林斯潘的《奥林匹亚系列电视纪录片》,探寻这些电影和电视节目在传播民族主义时所具备的影响力,并追溯产生这些不同意识形态的文化根源。此外,本文还探讨了奥运纪录电影和电视节目如何作为大众文化产品传播国家主流话语,以及其他一些重要社会议题如何在不同历史时期影响这些纪录电影的创作和传播。This article examines the history of the Olympic documentary film sub--genre and the ways in which these films and television programs exist as representations of nationalism and sites of propaganda in popular culture. Within a historical context and applying Bill Nichols' documentary mode classification system from his book Representing Reality, this article conducts a close reading of each film and TV program's narrative structures, generic traits, and rhetorical strategies in creating and delivering these representations of nationalism. Analysis of seminal films including Olympia (Leni Riefenstahl) and Tokyo Olympiad (Kon Ichikawa), along with Bud Greenspan's television Olympic documentary mini--series. The Olympiad indicates the ability of these films and TV programs to convey messages of nationalism, and specific the cultural origins that give rise to these different ideologies. Besides, the intention of this article is to demonstrate how Olympic documentary films and television programs can operate as popular culture artefacts to broadcast national mainstream discourses, and how other significant sociological concepts relevant to the time frames influenced the creation and exhibition of these documentary films.
关 键 词:奥运纪录电影 叙事结构 类型特征 修辞策略 民族主义 大众文化
分 类 号:G80-05[文化科学—运动人体科学]
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