表征、意涵与语境:扶贫纪录片影像空间生产比较研究  

Representation,Connotation and Context:A Comparative Study of the Production of Image Space in Poverty Alleviation Documentary Films

作　　者：田秋生[1,2] 安浩 Qiusheng Tian;Hao An

机构地区：[1]广州大学新闻与传播学院 [2]广州大学粤港澳传媒研究中心

出　　处：《新媒体与社会》2024年第2期248-260,M0015,M0016,共15页New Media and Society

摘　　要：本文应用“空间生产”及电影空间叙事学理论,对扶贫纪录片的空间生产展开比较分析,研究发现:不同的纪录片创作者借助置身空间、对话交流、镜头记录等方式延伸观众感官体验,通过对同一叙事空间之下不同的空间叙事搭建起纪录片文本对贫困村和脱贫攻坚成果的感知空间;借助空间流变、个体记忆、亲身体验等形成各具风格的空间生产;传播目的、传播对象及传播情境的不同,带来了创作者间空间叙事的差异。This paper uses the theory of“spatial production”and film spatial narratology to comparatively analyze the spatial production of poverty alleviation documentaries.The research finds that:different documentary creators extend the audience's sensory experience by means of immersion space,dialogue and communication,camera recording,etc.,and build up the perception space of poverty village and poverty alleviation achievements by different spatial narration under the same narrative space;form various styles of spatial production by means of spatial evolution,individual memory,personal experience,etc.;the differences in communication purpose,communication object and communication context bring about the differences in spatial narration between creators.

关 键 词：扶贫纪录片 空间生产 叙事 

分 类 号：J952[艺术—电影电视艺术]