实景转向:《丝绸之路》与中国改革开放后的自我镜像  

Turning to live-action shooting:The Silk Road and China’s mirroring after its reform and opening up

作　　者：周传艺 郑淏 ZHOU Chuanyi;ZHENG Hao(School of Journalism and Communication,Shandong Normal University,Jinan 250358,China)

机构地区：[1]山东师范大学新闻与传媒学院,山东济南250358

出　　处：《浙江师范大学学报（社会科学版）》2023年第6期19-26,共8页Journal of Zhejiang Normal University(Social Sciences)

基　　金：教育部人文社会科学青年项目“‘计划—市场’时期中国电影生产机制的转型研究(1978—1992)”(21YJC760115)。

摘　　要：1980年播出的《丝绸之路》是改革开放后较为重要的一部纪录片,其使用的实景拍摄方式改变了以往纪录片创作的理念与实践走向。然而,“实景”的修辞策略体现的是新时期“外向型”的社会转型,内容却是“内聚于”古老的历史纵深。在过去与未来、传统与现代的时间张力中,审美现代性与社会现代性之间出现了表述的缝隙,“过去/历史”不仅是特定时期意识形态讲述的需要,同时也是想象民族共同体、确立自我主体性的一个有效路径。丝绸之路的“路”,是一条开放之路、面向世界之路,对这一“道路”的“重走”,成为中国改革开放后现代化、全球化发展道路的镜像指涉。The Silk Road,aired in 1980,was an important documentary after the reform and opening up.It used live-action shooting,which changed the previous creation concept and practical direction.However,the rhetorical strategy of“live-action”reflects the“open”social transformation in the new era,whereas its content is still closely“embedded”in ancient history.Due to the time span of the past and the future,the traditional and the modern,there has been a gap in expression between aesthetic modernity and social modernity.“The past/history”is not only a need for ideological narration in a specific period,but also an effective path to conceiving a national community and establishing self-subjectivity.The Road is an open and global road,the“re-adoption”of which has become a mirror reflecting China’s path of modernization and globalization after reform and opening up.

关 键 词：《丝绸之路》 实景 改革开放 自我镜像 

分 类 号：J90[艺术—电影电视艺术]