城市记忆场域的空间建构——以纪录片《津门往事》为例  

The Spatial Construction of Urban Memory Field--Taking the Documentary Tianjin:Memories of a Bygone Era as an Example

作　　者：陈湘妍 王庆福[1] CHEN Xiang-yan;WANG Qing-fu

机构地区：[1]上海外国语大学新闻传播学院,上海201620

出　　处：《民族艺林》2024年第1期103-111,共9页Journal of Ethnic Art

摘　　要：作为一部承载着城市记忆的纪录片,《津门往事》通过对历史碎片化的信息收集、选择、组合,将中国传统叙事的时空观与数字时代的审美诉求相结合,通过现实与历史的互文搭建记忆的框架,通过多元化叙事构建记忆的逻辑;而主体参与更让影像超越了对客观现实的简单再现,成为具有“在场体验”的意向空间,令观众产生情感共鸣;由此使创作者所搭建的“记忆场域”更好地传递城市的历史厚度与现实温度。As a documentary that carries the city’s memory,Tianjin:Memories of a Bygone Era collects,selects and combines the fragmented information of history,combines the spatial and temporal view of traditional Chinese narrative with the aesthetic demands of the digital era,builds the framework of memory through the intertextualization of reality and history,and constructs the logic of memory through diversified narratives;and the participation of the subjects makes the image transcend the simple reproduction of the objective reality,and become an intentional space of“presence experience”,thus creating emotional resonance for the viewers.The participation of the subject makes the image go beyond the simple reproduction of objective reality and become an intentional space with“presence experience”,which makes the audience resonate with their emotions;thus,the“memory field”built by the creators can better convey the historical thickness and realistic temperature of the city.

关 键 词：《津门往事》 城市纪录片 记忆场域 空间叙事 

分 类 号：J952[艺术—电影电视艺术]