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90年代以来,纪录片创作可谓是呈现出蔚为壮观的新气象。从实践角度而言,它表现出令人耳目一新的诸多倾向,比如:人的主题、个体化的对象,情感化的表现、情节化的叙事和纪实性的风格……无疑,这些创作倾向在很大程度上促进了中国纪录片的繁荣,而且上述诸倾向早已被理论界所关注,并给予了详尽的阐述。本文试图在此基础上,以艺术创作过程中的主、客体互动关系为视角,将另外几种新倾向归纳出来。 艺术创作理论认为,创作过程实际上是由认识主体(创作者)、形式中介(创作风格、表达手段等及其最终综合物化而成的作品)以及认识客体(生活自身)这三维结构组成的,这一过程是动态的。
Since the 90s, documentary creation can be described as showing a spectacular new atmosphere. From a practical point of view, it shows many refreshing tendencies, such as: human subject, individualized object, emotional expression, plot narrative and documentary style ... undoubtedly, these creative tendencies are very To a large extent promoted the prosperity of Chinese documentaries, and the above tendencies have long been the concern of theorists, and gave a detailed exposition. Based on this, this article attempts to summarize several other new tendencies from the perspective of the interactive relationship between the subject and the object in the process of artistic creation. The theory of artistic creation holds that the creative process is actually composed of the three-dimensional structure of cognitive subject (creator), formal agent (creation style, means of expression and final composite materialization) and cognitive object (life itself) This process is dynamic.