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从纪录片的雏形阶段至今,业界和学界对纪录片的真实性原则以及“虚构”与“非虚构”创作手法的实践和讨论便从未停止过。2010年初,央视热播的大型纪录片《敦煌》和《探索·发现》栏目的剧情片《迷徒》等纪录片作品对纪录片的虚构手法进行了大胆的突破性尝试,继“真实再现”之后,再一次将“纪录片的虚构”这一问题推到了纪录片创作者、理论研究工作者以及观众的面前,引起热议纷纷。
From the embryonic stage of the documentary to the present day, the practice and discussion of documentary authenticity principles and the “fictionalization” and “non-fictional” creative practices of the industry and academia have never ceased. At the beginning of 2010, documentary films such as “Dunhuang” and “Mystery” from the large-scale documentary called “Dunhuang” and “Discoveries and Discoveries” hit by CCTV made a bold breakthrough attempt on the fictional techniques of documentary films. After “Realistic Reproduction” Once again, the issue of “the fictionalization of documentary” was pushed to the face of documentary creators, theoretical researchers and audiences, arousing heated discussions.