从“上帝之声”到“自我指涉”内心之语——浅谈20世纪90年代中国独立纪录片的叙事模式及缺憾

中国独立纪录片作者在拍片之初呈现出一种游离于体制边缘的激进姿态,并借鉴＂真实电影＂或＂直接电影＂的叙事模式来对抗主流专题片中权威的＂上帝之声＂。然而,独立纪录片作者＂主体性＂的缺失以及过度依赖拍摄客体的＂言说＂却让中国独立纪录片面临着自身不可避免的缺憾。经过自我反省的中国独立纪录片作者,在20世纪90年代中期开始表现出对＂回到自身＂的渴望以及对＂个人化的写作、自由的表现＂的诉求。中国独立纪录片呈现出多样化、多声部的发展态势。中国纪录片的声音也由＂上帝之声＂演变为一种＂自我指涉＂的内心独白。

From "voice of God" to self-reflexive voice-exploration on narrative style and fallacy of Chinese independent documentary in 1990s

Filming the documentary outside the state system,Chinese independent documentary filmmakers showed their strong preference for the styles of cinema verite or direct cinema,which represents an attempt to resist the "voice of God" approach in the official news and documentary programming.However,Chinese independent documentary was confronted with a number of inevitable problems-the subject voice’s non-existence and the excessive liability on interviewee’s words.After experiencing self-reflection during the mid of 1990s,Chinese independent documentary filmmakers showed their strong cry for self-repositioning,personal writing,as well as free expression.Chinese independent documentary began to bear some characteristics of diversification and multi-voices.Therefore,the voice of Chinese documentary developed from the "voice of God" into the self-reflexive soliloquy.