徐童纪录片的真实性边界探析  

An Analysis of the Authenticity Boundary of Xu Tong’s Documentary

作　　者：牛晓敏 宋永琴 

机构地区：[1]大连理工大学人文与社会科学学部,辽宁 大连

出　　处：《新闻传播科学》2023年第2期197-201,共5页Journalism and Communications

摘　　要：真实是纪录片的生命。纪录片真实性的边界问题一直以来都是学术界与业界关注和讨论的话题。独立纪录片导演徐童的游民三部曲《麦收》《算命》《老唐头》,让游民的生活状态在镜头中自然呈现,赋予了纪录片真实性更广泛深刻的内涵。本文将结合徐童的三部作品,从三个维度上对纪录片的真实性边界问题进行探讨:纪录片在多重视角下、多维时空下、多个语境下的真实。最终得出结论,对于纪录片而言,真实是相对的,只有在多个维度上最大程度地接近真实,才能让纪录片在整体上最大程度还原真实。Truth is the life of a documentary. The boundary problem of docu-mentary authenticity has always been a topic of concern and discussion between academia and the industry. The independent documentary director Xu Tong’s trilogy of vagrants, “Wheat Harvest”, “Fortune Teller” and “Shattered”, makes the vagrants’ life state appear naturally in the camera, and endows the documentary with a broader and deeper connotation of authenticity. This paper will discuss the authenticity boundary of the documentary from three dimensions based on Xu Tong’s three works: the authenticity of the documentary from multiple perspectives, multi-dimensional space-time, and multiple contexts. Finally, it is concluded that for documentaries, truth is relative. Only by approaching the truth to the greatest extent in multiple dimensions can the documentaries restore the truth to the greatest extent on the whole.

关 键 词：真实性 纪录片 独立纪录片 游民 

分 类 号：J95[艺术—电影电视艺术]