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作为涵盖所有客观事物运动、变化、发展规律的“对立统一”法则,在我们利用高科技的光学电子手段,真实地记录社会生活的创作过程中同样有所体现。这种具体的表现,就是纪录片经过90多年的探索实践之后,越发深入的“客观纪录”与“主观介入”之间的“理论争执”。之所以称之为理论上的争执,是因为不管是高举“客观纪录”的旗帜,坚决摒弃主观介入的阵营,还是强调主体意识,不屑于照镜子般地记录现实生活的派别,在实际的创作过程中,都会自觉不自觉地陷入自相矛盾的境地,让纪录片自
As the law of “unity of opposites” that covers all the laws, movements, changes and development of objective things, it is also reflected in the creative process of using the high-tech optical electronic means to truly record social life. This concrete manifestation is the “theoretical dispute” between the “objective records” and the “subjective interventions” after the documentary has been explored and practiced for more than 90 years. The reason why it is called a theoretical dispute is that whether it is holding up the banner of “objective records”, resolutely abandoning the subjective intervention camp or emphasizing the subject consciousness, disdainfully recording real life factions in the mirror, During the process, they will consciously or unconsciously fall into self-contradictory situations so that the documentary itself