继中央电视台“大型电视纪录片”的杰作《望长城》面世之后,纪实类电视节目形态以从唯美而返璞归真的趋势在电视界悄然盛行。以长镜头、自然光、同期录音、追踪“过程”等同步纪录现实生活的纪实风格和纪实拍摄手法在电视片中得到广泛的运用,尤其是在电视纪录片中的运用得到了长足的发展。这足以说明纪实拍摄手法以一种准纪实,还生活本来面目的风格已成为电视纪录片发展的主流。但是,在实践中,我们也时常看到有些片子的纪实手法并不成功,有的矫揉造作,有的唯“纪实”而“纪实”,这些片子的拍摄者把“纪实”与自然主义混淆起来,使自己的思维理念落入了机械唯物论的窠臼,暴露了我们有些同行在认识上对纪实手法的理解还存在种种误区。 Following the appearance of the “Great Wall of Great Wall”, a masterpiece of the “big television documentary” on CCTV, the documentary television program has quietly prevailed in the television industry with the trend of returning from the pure beauty to simplicity. Realistic documentary style and documentary recording techniques, such as long shots, natural light, simultaneous recording and tracking of “process”, have been widely used in television programs. In particular, the use of television documentaries has made great strides. This shows that documentary shooting practices to a quasi-reality, but also the true colors of life has become the mainstream of the development of television documentaries. However, in practice, we often see the documentary techniques of some films unsuccessful, some artificial and others “documentary” and “documentary”. The filmmakers of these films confuse Documentary with naturalism, So that their thinking philosophy falls into the wrong place of mechanical materialism, exposing some of our colleagues in understanding of documentary techniques there are still misunderstandings.