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在中国纪录片创作史上,经典之作经过时间的洗礼至今绽放着熠熠光辉。但是所谓传世佳作毕竟凤毛麟角,大多数纪录片很快就消失在了人们的记忆之中。究其原因,除了题材上的先天不足之外,很大程度上是创作者没有利用好纪录片视听元素修辞表意的功能,从而使作品没有很好地被艺术化表达,以致作品主题没有得到应有的深度,不仅直接降低了作品的艺术水平,也给“电视无深度”又扣上了一顶大大的帽子。本文将试图以几部中国经典纪录片为例,论述影像修辞在纪录片中的具体表现,并就其对于纪录片的作用进行分析。
In the history of documentary creation in China, the classic baptism of time has shone so far. However, the so-called masterpieces handed down after all are rare, most of the documentaries will soon disappear in people’s memory. The reason for this is that apart from the inherent deficiencies in the subject matter, it is largely a function of the creators not to make good use of the rhetorical meanings of audio-visual elements in documentary films so that their works are not artfully expressed so that the theme of the work is not properly obtained Depth, not only directly reduce the artistic level of the work, but also to “TV without depth ” and buckle up a big hat. This article will try to take several Chinese classic documentary as an example to discuss the concrete manifestation of the image rhetoric in the documentary and to analyze its role in the documentary.