调和虚构与真实:后媒介视角下动画纪录片中的“重演”  

Reconciling Fiction and Reality:“Re-enactment”in Animated Documentaries from a Post-Medium Perspective

作　　者：薛亮[1] Xue Liang

机构地区：[1]中国社会科学院大学新闻传播学院

出　　处：《云南艺术学院学报》2024年第4期102-107,共6页

基　　金：教育部社科基金一般项目“‘后电影’视野下数字虚拟电影与观众(用户)的共同演化研究”(项目编号:21YJC760095)阶段性成果。

摘　　要：在后媒介时代,基于视觉本体论而言,没有任何一部纪录片是未经“媒介化”而表述事实与真理的。动画纪录片是“虚构性”动画技术(绘画、基于木偶、CGI等)与纪录片的原型代码和创制惯例(主张对“真实性”的坚持)的结合。从视觉发展史角度看,“虚构”和“真实”的概念往往既不容易也不可能截然分隔。动画纪录片通过各种动画技术以“重演”的方式一定程度上“虚构”事实。观众如何“体验”真实性、动画纪录片如何将观众与真实性相联系这一体两面的问题更值得研究。动画纪录片的“重演”不是简单的“事件重放”或“场景再现”,而是被视为关于情境构建、索引真实、叙事视角以及影像时间性的视觉本体论层面上的关键修辞策略。In the post-media era,on the basis of visual ontology,there is no documentary that expresses facts and truths without being“mediated”.The animated documentary is a combination of“fictional”animation techniques(drawing,puppet-based,CGI,etc.)and the archetypal codes and production conventions of the documentary,which advocate an insistence on“authenticity”.From the point of view of the history of visual development,the concepts of“fiction”and“reality”are often neither easy nor possible to separate decisively.Animated documentaries“fictionalize”facts to a certain extent by“re-enacting”them through various animation techniques.How the audience“experiences”authenticity and how animated documentaries connect the audience with authenticity are two sides of the same coin that are more worthy of study.The“re-enactment”of animated documentaries is not simply“replaying”or“recreating”a scene,but rather is regarded as a key rhetorical strategy on the level of visual ontology regarding contextualization,indexical truth,narrative perspective,and image temporality.

关 键 词：动画纪录片 重演 索引真实 视觉本体论 修辞策略 

分 类 号：J952[艺术—电影电视艺术]