【作者】 张斌；

【导师】 张卓；

【作者基本信息】 武汉大学 ， 传播学， 2021， 博士

【摘要】 改革开放以来,中国纪录片创作进入活跃期,其重要标志之一是“地方”成为纪录片叙事的内置构件。纪录片对地方的呈现、书写与塑造既包含对不同历史时期地方面貌的真实纪录,也深植于对人地关系、文化变迁、社会转型,以及全球化趋势下地方困境的细致描写和持续思考。基于此,本文试图回溯并沉潜于改革开放四十年以来中国纪录片的叙事体系和文本细部进行考证,从内嵌于纪录片深处的“地方”印记,还原“地方”始于不同原点但又相互勾连的多重影调。论文以“地方、记忆、认同”三个关键词为线索分上中下三篇共十个章节来阐述改革开放以来中国纪录片与地方的互动关系,并以此为基础探寻中国纪录片建构地方记忆和地方认同的路径。上篇聚焦“发现地方”,通过发掘暗藏于纪录片中的地方踪影,阐释纪录片中的地方意指为何,并着重梳理两者的互动关系。具体分四章展开。第二章将地方视作典型的纪录客体,探索地方生成的源头,归纳出纪录片中地方的三种形态,即社会转型期“摇摆”的地方、纪实美学中“遥远”的地方和世界语境下“模糊”的地方。第三章从地理地方、情感地方、文化地方和美学地方四个面向出发,阐发纪录片中地方的不同形貌。第四章基于人地框架模式,梳理出纪录片中四种地方框架,分别为价值框架、情感框架、隐喻框架和想象框架。第五章试图从地方转向地方性知识,并将地方性知识细分为地域-文化社群聚合性知识、本土-文化情境相关性知识和社会-文化空间内嵌性知识,从而确立纪录片的在地实践逻辑。中篇立足“地方记忆”,将纪录片视作地方记忆的载体,并阐释其再现地方记忆的方式。该篇涵盖四个章节。第六章从地方记忆中的乡愁和怀旧风潮说起,以“回不去的地方”这一现实语境为依托,阐说弥漫于纪录片文本中的乡愁情绪和怀旧记忆。第七章将记忆界定为地方和纪录片的中介,并具体阐释包含地域记忆、代际记忆、交往记忆和集体记忆在内的四种地方记忆形式。第八章聚焦纪录片再现地方记忆的方式。以空间的变迁、重大历史时刻的记忆在场、英雄人物的神话叙事、民俗与仪式以及地方长老的记忆资源为核心的记忆素材构成纪录片建构地方记忆的基本谱系。第九章关注记忆的政治与国家的关系,具体包括地方记忆的视觉政治、权力秩序和国家话语三个方面。下篇以“建构认同”为题,阐述纪录片建构地方认同的路径。核心内容包括两章。第十章从故事共同体、视觉修辞、从地方到自我以及地方认同中的情感结构四个方面阐述纪录片建构地方认同的路径。第十一章关注在新的全球化语境下地方所遭遇的流变以及由此带来的地方认同的困境和危机。具体表现为再地方化的发生、跨地方化的普遍化、全球地方感的蔓延以及无地方性的萌发,这些新的现象不仅拓展了地方概念的边界,也对地方认同造成显著冲击,因此必须以新的眼光审视地方认同,并为这种危机寻找新的出路。本研究表明,1980年以来的中国纪录片发展,是一个地方意识不断复苏、进而融入全球化语境的动态过程。“地方”作为纪录片叙事的内置构件,于纪录片创作和研究而言,具有内容规约和意义拓展的双重作用。纪录片叙事作为显性线索,构成文本的外部视野,而地方书写则作为隐形线索,同步蕴涵于文本的内部结构之中,构成一组协调共振的平行“复调”。而“地方”的奥义也正在于此,它代表着我们重新审视中国纪录片的“一种眼光”,亦构成纪录片与其它艺术形式进行互动和融合的一个基本的“界面”。更多还原

【Abstract】 Since the reform and opening up,Chinese documentary creation has entered an active period.One of its important signs is that "place" has become a built-in component of documentary narrative.The documentary’s presentation,writing and shaping of the place not only include real records of the landscape in different historical periods,but also deeply rooted in the detailed description and continuous thinking of the human-land relationship,cultural changes,social transformation,and local plights under the trend of globalization.Based on this,this article attempts to go back and submerge in the narrative system and textual details of Chinese documentaries in the past 40 years of reform and opening up.From the imprint of the “place” embedded in the depths of the documentary,the restoration of the “place” started from a different origin but is mutually exclusive.Multiple shades of interlocking.The thesis uses the three keywords of "place,memory,and identity" as clues to be divided into ten chapters in the upper,middle and lower parts to illustrate the interactive relationship between Chinese documentaries and the place since the reform and opening up.On this basis,it explores the construction of local memories and The path of local identity.The first part focuses on "discovering places",by exploring the places hidden in the documentary,explaining the meaning of places in the documentary,and focusing on the interaction between the two.The details are divided into four chapters.The first chapter regards place as a typical documentary object,explores the source of place generation,and summarizes the three forms of place in the documentary,namely the "swaying" place in the period of social transformation,the "distant" place in documentary aesthetics and the world context Under the "fuzzy" place.The second chapter starts from the four aspects of geographical place,emotional place,cultural place and aesthetic place,and explains the different appearances of places in the documentary.The third chapter,based on the human-land framework model,sorts out the four local frameworks in the documentary,namely the value framework,the emotional framework,the metaphor framework and the imagination framework.Chapter 4 attempts to shift from local to local knowledge and subdivide local knowledge into regional-cultural community aggregated knowledge,local-cultural context-related knowledge,and socio-cultural space embedded knowledge,thereby establishing the documentary Local practice logic.Based on "local memory",the second part regards the documentary as the carrier of local memory and explains the way it reappears.This article covers four chapters.The fifth chapter starts with the nostalgia and nostalgia in local memories,and uses the realistic context of "places that cannot be returned" as a basis to explain the nostalgia and nostalgia memories pervading the documentary text.Chapter 6 defines memory as an intermediary between places and documentaries,and specifically explains four forms of local memory including regional memory,intergenerational memory,communicative memory and collective memory.The seventh chapter focuses on the way the documentary reproduces local memories.The memory materials centered on the changes of space,the presence of memories of important historical moments,the mythological narratives of heroes,folk customs and rituals,and the memory resources of local elders constitute the basic genealogy of the documentary to construct local memories.The eighth chapter focuses on the relationship between the politics of memory and the state,specifically including the visual politics of local memory,power order and state discourse.The last part uses "Constructing Identity" as the topic to explain the path of documentary construction of local identity.The core content includes two chapters.The ninth chapter elaborates the path of documentary construction of local identity from four aspects: story community,visual rhetoric,from place to self,and the emotional structure in place identity.Chapter 10 focuses on the changes encountered by places in the new globalized context and the dilemmas and crises of local identity brought about by them.The specific manifestations are the occurrence of re-localization,the universalization of trans-localization,the spread of global sense of place,and the emergence of non-locality.These new phenomena not only expand the boundaries of the local concept,but also have a significant impact on local identity.Therefore,they must Examine local identity with new eyes and find a new way out for this kind of crisis.This research shows that the development of Chinese documentaries since 1980 is a dynamic process of continuous recovery of local consciousness and integration into the context of globalization.As a built-in component of documentary narrative,"place" has the dual functions of content regulation and meaning expansion in terms of documentary creation and research.The documentary narrative acts as an explicit clue and constitutes the external vision of the text,while the local writing acts as an invisible clue,which is simultaneously embedded in the internal structure of the text,forming a set of coordinated and resonant parallel "polyphony." And the meaning of "place" is also here.It represents "a vision" for us to re-examine Chinese documentaries,and it also constitutes a basic "interface" for interaction and integration between documentaries and other art forms.更多还原