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在当代拉美电影的发展进程中,纪录片不仅占据了重要地位,许多虚构作品的原创性也来自纪录片风格。本文以战后意大利新现实主义的引入为开端,依照时代演进次序,考察了一组重要拉美剧情片的纪录片倾向。倘若说在20世纪50年代初期实验中,电影人仍旧信任镜头具备捕捉真实的能力,而在新电影时期,纪实手段在更多情况下提供了批判思考的路径,那么80年代以来,《伊拉塞玛》《中央车站》等代表性影片又提出了重新思考纪实与虚构之间互动关系的路径。
In the process of the development of contemporary Latin American films, documentaries not only occupy an important position, many originality of fictional works also come from the documentary style. This article begins with the introduction of Post-war Italian Neo-realism and examines the tendency of documentaries of a group of important Latin American feature films in accordance with the order of the evolution of the times. If in the early 1950s experiments, filmmakers still believed in the ability to capture real footage, and in the new movie period documentary means provided more critical thinking in more cases, then since the 1980s, Representative films such as “Sima” and “Central Station” put forward a path to reconsider the interactive relationship between documentary and fiction.