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西方导演中国政治议题纪录片的个人表述

Personal Expression of Chinese Political Documentaries Directed by Western Directors
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摘要 以西方导演个人身份拍摄的中国政治议题纪录片为研究对象,从叙事学的角度研究其对中国主题的个人表述。研究发现,在有关中国影像的建构方面,西方导演个人身份的中国政治议题纪录片走过了从思想介入到事实介入、从局外人到局内人、从直呈式影像到重构式影像的过程。西方导演中国政治议题纪录片在影像表达方面的探索,对当下国内纪录片如何向国际讲述“中国故事”具有重要的借鉴意义。 Focusing on Chinese political documentaries shot by western directors in their personal identities from a narrative of view , we find that in terms of the construction of Chinese images , Chinese political issue documentaries of western directors' personal identity have gone through a process from ideological intervention to factual intervention , from outsider to insider, from direct image to reconstructed image. The exploration of the image expression of Chinese political documentaries directed by western directors has important reference significance for domestic documentaries to tell "China story" to the international community.
作者 王庆福 WANG Qing-fu(School of Journalism and Communication , Shanghai International Studies University, Shanghai 20083)
出处 《艺术百家》 CSSCI 北大核心 2019年第2期148-152,共5页 Hundred Schools In Arts
基金 2018年度国家社会科学基金艺术学一般项目“纪录片讲述‘中国故事’的叙事策略研究”(项目编号:18BC036)阶段性成果之一
关键词 电影艺术 西方导演 中国政治议题 纪录片 个人 Western Director Chinese Political Issues Documentary Person
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  • 1张巍.纪录与虚构——从尤里斯·伊文思的创作历程看纪录观念的嬗变[J].北京电影学院学报,2002(6):39-57. 被引量:4
  • 2Robert h. Rosenstone, 'The Future of the Past. Fihn and the Beginnings of Postmodern History' in Vivian Shobchack (ed.), The Persistence of Hislory. Cinema, Television, and the Modern Event, Routledge, New York/London, 1996, p. 202.
  • 3Friedvich Nietzsche in Twilight of the Idols, Oxford University Press, 1998, p. 20.
  • 4The body, as absolute here and now, is the ultimate point of reference of every 'there and then' ,
  • 5Umberto Eco, 'On the Impossibility of Drawing a Map of the Empire on a Scale of 1 to 1' in How to Travel with a Salmon & other essays, Harcourt, 1994.
  • 6Nomes is giving an elaborate description of Fighting Soldiers, including an English translation of the titles, from which I quote betel Nomes, pp. 161-174.
  • 7Nomes is giving an elaborate description of Fighting Soldiers, including an English translation of the titles, from which I quote betel Nomes, pp. 166-167.
  • 8In order to maintain some coherence Ⅰ mention first names first, then the family name, according to some WeStern habits, unless the names appear in quotes that have chosen the inversed order (family name first).
  • 9Quoted in Peter B. High, The Imperial Screen. Japanese Film Culture in the Fifteen Years' War, 1931-1945, The University of Wisconsin Press, 2003, p. 103.
  • 10Regarding the fihn Shanghai we can find more elaborate descriptions in both Nornes' and High' s books.

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