Making-of Documentaries on DVD: The Lord of the Rings Trilogy and Special Editions
Making-of Documentaries on DVD: The Lord of the Rings Trilogy and Special Editions
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DVD 纪录片制作制作：《指环王》三部曲和特别版
DOI：
10.1353/vlt.2006.0006
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发表时间：
2006
期刊：
影响因子：
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通讯作者：
C. Hight
中科院分区：
文献类型：
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作者：
C. Hight
“制作”纪录片，即那些旨在记录另一文本制作的电影（和电视节目），自电影本身诞生以来就有悠久的历史（Arthur 39）。它们日益成为故事片制作的标准特征，毫无疑问，这种纪录片亚类型已经开发出潜力，可以为当代电影制作的本质提供独特而独特的见解。本文讨论了“制作”纪录片 (MOD) 子类型在 DVD 电影发行中日益增多的背景。本次讨论旨在为日益增多的关注基于计算机的媒体重塑视听媒体（在本例中为纪录片类型）的文献提供补充。 MOD 在 DVD 上获得了新的生命，成为一个标准功能，特别是所谓的特别版光盘中包含的一系列补充材料。作为一种介质，DVD（数字视频光盘或数字多功能光盘）作为激光光盘格式的替代品，从诞生之日起就迅速崛起。它现已成为娱乐主流，无论是在国内租赁还是作为家庭视频库的标准，VHS 视频都日益边缘化。该媒体基本上可以追溯到 1995 年 12 月，当时是一种格式的竞争制造商之间达成的协议，但它的主流统治地位真正开始于 1999 年 8 月发行了百万销量的《泰坦尼克号》和下个月发行的《黑客帝国》。这些光盘的销量都让工作室和消费者相信了该技术的未来。 DVD技术被消费者迅速采用与家用电子行业开发家庭影院系统市场的努力密切相关。克林格于 1998 年在谈到家庭视频时指出，家庭影院倡导者在家庭领域创造新电影文化的尝试部分取决于向客户推销其机器的独特性及其所能带来的体验，同时宣扬所有者兼经营者掌握这个高级技术和感觉宇宙的能力。这种话语伴随着企业和消费文化向家庭的渗透，因为家庭被重塑为娱乐区。进入家庭空间的家庭影院的公众形象明确地将其区分为一种赋予用户特权甚至贵族的商品。通过将家庭影院与增强的感官体验联系起来，媒体行业和消费杂志试图在饱受诟病的家庭区域中创造一种文化贵族，因为家庭区域的电视机“过时”，观众被动。 (11)
“M aking-of” documentaries, those films (and television programs) that purport to document the production of another text, have a long history dating from the beginnings of cinema itself (Arthur 39). They are an increasingly standard feature of feature film production, and there is no doubt that this documentary subgenre has developed the potential to offer distinctive and unique insights into the nature of contemporary filmmaking. This article discusses the “making-of” documentary (MOD) subgenre in the context of its increasing appearance on DVD cinematic releases. This discussion is intended to add to the growing body of literature focused on the reshaping of audiovisual media (in this case, the documentary genre) by computer-based media. The MOD has enjoyed a new life on DVD, becoming a standard feature particularly of the range of supplementary materials included within so-called special edition discs. As a medium, DVD (digital video disc, or digital versatile disc) has been marked by a rapid rise from its origins as an alternative to the Laserdisc format. It is now established within the entertainment mainstream, increasingly marginalizing VHS video both in domestic rentals and as the standard for home video libraries. The medium dates essentially from December 1995, with the agreement between competing manufacturers of a format, but its mainstream dominance really began with the release of the million-selling Titanic in August 1999 and The Matrix in the following month. Each of these discs achieved sales that convinced studios as well as consumers of the future of the technology. The rapid adoption of DVD technology by consumers is closely associated with efforts by the home electronics industry to develop the market for home theater systems. Writing in 1998 in reference to domestic video, Klinger noted, The attempts of home theater advocates to create a new film culture in the domestic sphere rest partially on selling their customers the distinctiveness of their machines and the experiences they can bring while touting the owner-operator’s ability to master this universe of superior technology and sensation. This discourse accompanies the penetration of corporate enterprise and consumer culture into the home as it is refashioned into an entertainment zone. The public image of home theater that enters the domestic space is unambiguous in distinguishing it as a commodity that confers privilege, even nobility, upon its users. By characterizing home theater in relation to heightened sensory experience, media industries and consumer magazines attempt to create an aristocracy of culture in the much-maligned domestic zone with its “antiquated” television set and passive viewers. (11)