日常的批判及其不满:是枝裕和纪录影像的媒介间性与公私分际  

The Critique of Everyday Life and Its Discontents:Intermediality and the Division of Public and Self in Hirokazu Kore-eda's Documentaries

作　　者：庄沐杨 Zhuang Muyang

机构地区：[1]同济大学艺术与传媒学院

出　　处：《戏剧与影视评论》2024年第5期93-101,共9页Review of Theatre and Film

基　　金：同济大学艺术与传媒学院部校共建项目“人工智能时代的视听传播与日常生活批判研究”(BXGJ-2024-C15)阶段性成果。

摘　　要：是枝裕和在其故事长片中注入了对现实议题的关怀和对当代日本社会问题的关注。与之相应,当前学界和电影批评领域倾向于认为,是枝裕和故事片创作中存在一种“纪录片冲动”。在投身故事长片创作之前,是枝裕和有着较长时间的纪录片创作经历,其创作理念和作品均体现出介于电影与非电影之间的媒介间性,并由此进一步型塑其纪录影像创作介于公共性与私人性分际的中间影像特质。从日常生活批判视角出发,是枝裕和纪录影像所具有的媒介间性创作特质,以及其介乎公私分际的创作理念和表达方式,一方面指向了日本社会现实所存在的弊处,但同时也因其私人视角的温吞与暖味,反而让这种纪录影像的日常生活批判自我设限。Hirokazu Kore-eda's feature films frequently engage with realistic concerns and contemporary Japanese social issues.Accordingly,academic discourse and film criticism often identify a"documentary impulse"in his cinematic work.Before transitioning to feature films,Hirokazu Kore-eda had an extensive background in documentary filmmaking,which deeply influenced his approach to cinema.His work reflects a fluid interplay between film and non-film,shaping a hybrid visual style that navigates the boundaries between the public and the private.From the perspective of the critique of everyday life,Hirokazu Kore-eda's documentaries exhibit this intermediality while also articulating a tension between social commentary and personal reflection.While his documentary films critique the shortcomings of Japanese society,their intimate,personal lens can render this social critique self-contained and introspective.

关 键 词：是枝裕和 纪录影像 媒介间性 日常生活批判 

分 类 号：J95[艺术—电影电视艺术]