重返九十年代:一种不再返回的影像表达与记忆——二十世纪九十年代中国独立纪录片研究综述

Back to the Nineties: An Expression and Memory of Images that No Longer Returned: A Review of the Study of Independent Documentaries in China in the 1990s

20世纪90年代中国独立纪录片影像表达至今仍然具有研究价值。对九十年代中国独立纪录片创作研究的基本综述,不是采用广泛收集各种相关研究文献进行综合分析,而是以吕新雨、张同道、谢晓晶和吴文光等在国内外纪录片理论与创作领域具有代表性观点和著述为基础,对九十年代中国独立纪录片影像表达所建立的研究层面做出了一个基本的梳理,据此考察中国九十年代独立纪录片运动的基本面貌。《现场》:关注现场的吴文光关于独立纪录片的创作研究;多元共生的纪录时空:九十年代中国纪录片的文化形态;不约而同:当代中国的新纪录片运动;展示与验证:九十年代中国独立纪录片导演创作;开放与多义的直接电影:国外相关的纪录片导演创作研究等展开。

The image expression of the independent documentary in the 1990 s is still of research value. Instead of an overall analysis of related research literature that widely collected, the basic review of the research of Chinese independent documentary film creation in the nineties is based on the representative views and writings in the fields of documentary theory and creation both at home and abroad by Lv Xinyu, Zhang Tongdao, Xie Xiaojing and Wu Wenguang, and sorted out the research level that established by independent documentary film image expression of the nineties in China. According to this, we could study the basic appearance of Chinese independent documentary movement in 1990 s. Wu’s book "Live" unfolds in the following topics: focus on Wu Wenguang himself around his research of independent documentaries creation on the scene;multiple symbiosis records time and space: the cultural forms of Chinese documentaries in the 1990 s;in the same way: the new documentary movement in contemporary China;display and verification: the creation of Chinese independent documentary director in the nineties;open and polysemy direct film: foreign related documentary director creation research and so on.