城乡社会的“影像切片”——李一凡纪录片研究  

"Image Slices"of Urban and Rural Society:A Study on Li Yifan's Documentary

作　　者：赵雅婷 ZHAO Ya-ting(School of Literature,Changzhou University,Changzhou,Jiangsu 213164)

机构地区：[1]常州大学周有光文学院,江苏常州213164

出　　处：《艺术百家》2023年第6期114-122,共9页Hundred Schools In Arts

基　　金：2022年度国家社科基金青年项目“短视频‘新现实’的生产与传播研究”(项目编号:22CZW056)阶段性成果之一。

摘　　要：纪录片承担着关注平凡个体、展现多元图景的社会责任。李一凡的纪录片具有强烈的影像自觉和知识分子特性,从叙事层面探讨了中国转型时期的乡村社会、城镇劳工等底层现状,透过细微的“影像切片”,发掘被宏观历史书写遮蔽、遗忘的个体记忆,并采用客观记录、多屏装置、蒙太奇等视听手法揭示城乡社会的多重面貌,建构社会历史的影像档案。从早期的《淹没》《乡村档案:龙王村2006影像文件》延续“直接电影”式的客观记录,到《杀马特我爱你》打破机械式的观察,李一凡在“后电影”背景下营造具身化影像场景,他的创作转变蕴含了创作者探寻真实的深刻主体性,引发了观众对城乡社会的深切关怀和对现代性的理性认知,彰显了创作主体与媒介、社会共生的良性互动关系。Documentaries bear the social responsibility of focusing on ordinary individuals and showing diverse per-spectives.With strong image consciousness and intellectual characteristics,Li Yifan's documentary explores lower class issues such as rural society and urban labor during China's transformation period from a narrative perspective.Through subtle"image slices",they uncover individual memories that have been obscured and forgotten by macro-scopic historical narratives.They employ objective recording,multi-screen installations,and montage techniques to reveal the multiple faces of urban and rural society,constructing an audiovisual archive of social history.From the early works Before the Flood and Village Archive:Longwangcun 2006 Video Files which destroyed"Direct Cinema"style investigation records,to I Love You,Kill Me which breaks away from mechanical observation and creates embod-ied visual scenes in the context of"Post-Cinema",the transformation in creation contains the creator's profound sub-jectivity exploration of reality,triggering the audience's heavy concern for the underclass society and their rational un-derstanding of modernity.It also demonstrates the positive interactive relationship between the creative subject,the medium,and society.

关 键 词：纪录片 李一凡 底层研究 “直接电影” “后电影” 

分 类 号：J802[艺术—戏剧戏曲]