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自1895年法国路易·卢米埃尔拍摄的《工厂的大门》、《火车进站》起,纪录片逐渐成为最重要的记录形式。但对于始终徘徊在商业大门之外的中国纪录片人来说,选择这种记录形式,意味着难以想象的付出。
Documentary films have gradually become the most important form of recording since the gate of the factory and the “train stop” taken by Louis Lumiere, France in 1895. But for Chinese documentaries who are always hovering outside the commercial frontier, choosing this form of recording means something unimaginable.