Documentary Film in Media Transformation
Documentary Film in Media Transformation
复制标题
媒体转型中的纪录片
DOI：
--
复制
发表时间：
2013
期刊：
影响因子：
--
通讯作者：
Thomas Weber
中科院分区：
文献类型：
--
作者：
Thomas Weber
我的贡献集中在对不同媒体环境下的各种形式的纪录片进行定义和分类的困难。我的论点包括三个中心点：1.对纪录片的本质主义定义(例如，作为虚构电影的对立面)将我们带入陷阱，因为这种定义与所有纪录片背后的内在结构密切相关。在关于纪录片的理论话语中，我们可以观察到从本质主义的定义转向对纪录片的阅读、制作甚至发行过程的观察。这些程序也标志着与小说体裁的不同。3.纪录片的核心标准是它对现实的引用是否稳定。因此，对不同形式的纪录片进行分类，最明显的方法就是分析不同演员在不同环境中发挥的这种稳定性的差异。
My contribution focuses on the difficulty of defining and classifying the various forms of the documentary film in different media environments. My argument consists of three central points: 1. An essentialist definition of the documentary (for example as the opposite of fictional film) leads us into a trap, as this kind of definition is closely linked to the idea of an inherent structure underlying all documentary films. Hence, this creates misunderstandings, or insufficient notions such as »hybridization.« 2. In the theoretical discourse on documentary film, we can observe a shift from essentialist definitions to observations of procedures of reading, producing or even distributing the documentary. These procedures also mark a difference to fictional genres. 3. The central criterion for the documentary is the stability of its reference to reality. Therefore, the most obvious way to classify the different forms of documentary films is an analysis of the variance of this stability due to the play of various actors in different milieus.