编导立场与“舌尖”上的“贤妻良母”

Director's Position and“Devoted Wives and Mothers”on“Tongue”

纪录片对事实的纪录都是在一定阐释框架内进行的。电视纪录片《舌尖上的中国》第二季中被纪录的有名有姓的女性近50人,这些女性的"前台行为"与"后台行为"作为纪录片材质被编导出于不同意图纳入到各种阐释构架中予以编码,在特定话语观照下生产出纪录片的意义,多方呈现当下女性的生存境况,有效地传递编导的思想情感,体现其人文关怀。片中不少女性行为都被纳入到"贤妻良母"的叙述框架中予以纪录,可能暗合当今男权社会对女性的期待,甚至符合当今女性对于自身走向的期许。这无疑会对观众尤其是女性观众进行某种程度上的"召唤",也会进一步强化观众对女性的"贤妻良母"的刻板印象。

The documentary records the facts within the framework of a certain interpretation. Nearly 50 women who are designated names have been recorded in the TV documentary ＂a bite of China＂ （the second quarter）. The ＂front act＂ and the ＂backstage behavior＂ of these women have been encoded as documentary materials into a variety of interpretation framework by the director, producing the significance of the documentary in a particular discourse perspective. It presents the current situation of women living in many ways, and effectively communicates the director ＇ s thoughts and feelings, which reflects humanistic care. A number of female behaviors have been incorporated into the ＂devoted wives and mothers＂ narrative framework in the documentary. It may coincide with the expectations of women in today＇s male-dominated society, even may conform to the current trend expectations of women themselves, This will undoubtedly serve as a beckon to the audience, especially the female audience to a certain extent, and it also will further strengthen the audiences＇ stereotype of women as ＂devoted wives and mothers＂.