纪录电影的延宕机制、诗化现实与人本美学——以1980年代中央新闻纪录电影制片厂创作为中心的考察  

Dissipative system,poetic reality and humanistic aesthetics:A study of China Central Newsreel and Documentary Film Studioin the 1980s

作　　者：包磊 赵北辰 BAO Lei;ZHAO beichen(School of Theatre and Film,Shanxi Normal University,Taiyuan 030031,China;National Arts Fund Management Center,Beijing 100005,China)

机构地区：[1]山西师范大学戏剧影视学院,山西太原030031 [2]国家艺术基金管理中心,北京100005

出　　处：《重庆邮电大学学报（社会科学版）》2024年第6期166-174,共9页Journal of Chongqing University of Posts and Telecommunications(Social Science Edition)

基　　金：国家社科基金艺术学一般项目:当代中国电影建构主流话语认同机制研究(19782022)(23BC054)。

摘　　要：一般认为,基于1970年代晚期一系列拨乱反正的政治举措与经济改革,1980年代的纪录片倚借据时而起的启蒙思潮、改革理念和人文精神进入了自在自为的勃发阶段。辩证来看,此种表述俨然有意忽视了新中国成立以来纪录影像一以贯之的体制特征、宣导功能和教育属性,并将纪录电影与电视纪录片的不同媒介呈现形式混为一谈。作为一个延宕既有惯性的影像与文化机制,以中央新闻纪录电影制片厂为创作主体的纪录电影生产,前期迅疾回应时代和社会召唤,寓新闻于纪录之中进行“缝合”,其文本的文化启蒙、道德劝谕和人文关怀都有了产生的土壤;但也因“新时期”晚期剧烈的社会变革、文化转型和价值迁移,纪录影像在经受短暂的缓冲与基本的停滞后呈现为缺席的在场,成为被社会历史与文化美学所遮蔽的主体。因此,在时过境迁之后,于历史的回眸中探究这种先扬后抑又独具魅力的影像场域和文化范型,借以审视延续其时的中国纪录影像的生命体征与舒展状态,也就有了史学的必要与实现的可能;同时,1980年代的中国纪录电影蕴藏着丰厚的社会历史记忆、人文地理景观与文化美学特征,只因其狭小的文化圈层成为“被遗忘的角落”而未能引起人们的注目,尚待学界更进一步地挖掘并进行更为精细的探赜。It is generally believed that a series of“rectifying”political measures and economic reforms in the late 1970s paved the way for the emergence of enlightenment thoughts,reform ideas,and humanistic spirit in the documentaries of the 1980s.However,this perspective tends to overlook the consistent institutional characteristics,advocacy functions,and educational attributes of documentary images since the founding of the People’s Republic of China,conflating the distinct mediums of documentary films and television documentaries.Documentary film production,primarily by the China Central Newsreel and Documentary Film Studio,initially responded swiftly to the calls of the era and society,blending news with documentary to create a“seamless”narrative.This textual production became fertile ground for cultural enlightenment,moral exhortation,and humanistic concern.However,due to the severe social transformations,cultural shifts,and value migrations in the late“new period”,documentary imagery experienced a brief buffering and basic stagnation,leading to its absence from the cultural narrative,overshadowed by social history and aesthetic considerations.Therefore,revisiting this captivating yet complex field of imagery and cultural paradigms,in light of historical changes,becomes a scholarly necessity and possibility.The documentaries of the 1980s hold rich social historical memories,human geographic landscapes,and cultural aesthetic characteristics that,confined to a narrow cultural circle,have been relegated to a“forgotten corner”.This calls for further academic exploration and a more nuanced investigation into this significant but overlooked aspect of Chinese documentary film.

关 键 词：纪录电影 观念移置 延宕机制 “形象化政论” 人本美学 

分 类 号：J952[艺术—电影电视艺术]