计量电影学视阈下诗意纪录片的美学生成——以伊文思的《桥》《雨》为例

The aesthetic generation of poetic documentary films fromthe perspective of cinemetrics:A case study of Bridge and Rain

兴起于英美学界的计量电影学拓宽了电影研究的路径,该研究方法不仅是对欧美传统电影研究范式的不满乃至某种抵抗,还表明其是被数字人文背景下量化研究的热潮所驱动。从既有的文献梳理来看,计量电影学在纪录电影领域中的运用尚不多见,该方法为纪录片的形式与风格研究提供了新的分析工具。作为纪录电影的先驱人物——荷兰导演伊文思,其早期诗意纪录片作品《桥》《雨》在计量电影学定量研究方法下,开拓出了由景别、角度、剪辑构成的多维空间,由此以点带面,将早期诗意纪录片的美学生成进行可视化分析,研究结果显示,其具有大量特写景别并列、新奇视角陌生化处理、更短剪辑的节奏呈现等美学特征。

The rise of cinemetric studies in the Anglo-American academic circles has broadened the path of film research.This research method is not only a dissatisfaction and even resistance to the traditional European and American film research paradigm,but also is driven by the trend of quantitative research under the background of digital humanities.From the existing literature review,the application of cinemetric studies in the field of documentary films is still rare.This method provides new analytical tools for the study of the form and style of documentaries,and many“stereotypes”in the study of documentaries can be reexamined and rethought.As a pioneer of documentary films,Dutch director Joris Ivens’early poetic documentaries Bridge and Rain can open up multidimensional space of shot size,camera angle,and editing through quantitative research methods.Based on this,the aesthetic generation of early poetic documentaries can be visually analyzed,and many aesthetic features can be derived,such as the juxtaposition of a large number of closeup scenes,the defamiliarization of novel perspectives,and the rhythm presentation of shorter clips.These features of poetic documentaries discovered under cinemetric studies are“new”aesthetics.