偶然、连续与模糊：纪录短片三题

一分钟纪录短片即巴赞所倡导的镜头—段落和景深镜头，强调依赖摄影机镜头本身，而不是剪辑；倾向于景深镜头，追求长镜头的作用。纪录短片具有3个特征：即未经搬演的偶然事物、时间的连续性和含义模糊的多义性。纪录短片首先具有复制一切可见事物的能力，并且偏爱未经搬演的现实事物；第二，偶然的事物对于纪录短片来说，是一个特有的构成元素，意外事件要多于预先设置的事件，强调选择对象的真实；第三，时间的连续性，保证事件的时间进程得以呈现，强调时间空间的真实。事物意义含糊性和解释的不明确性，保留了未经加工的物质现实的多种含义，强调叙事结构的真实。纪录短片本质上是由那些未经搬演，偶然遭遇的具有某种因果联系的含义模糊的事物构成的，多义的场域是物质现实的本性，也体现在一分钟纪录短片中。纪录短片信守真实生活原貌中的暧昧与丰富，是一种镜头表达方式，也是一个事件，同时又是观看事件的反应与态度。

Contingency,Continuity, and Meaning Ambiguity: the Three Themes of One-minute Documentary

A one-minute documentary is the lens-paragraph and depth of field footage advocated by Azan. It emphasizes on camera lens itself, instead of editing, on depth of field lens, and the effect of long lens. The documentary has three characteristics: unmoved contingency, continuity of time and meaning ambiguity. First, the documentary has the ability to copy all the visible things, and prefers the unperformed reality. Second, the incidental things is a unique element, with more unexpected events, emphasizing the reality of the selected object. Third, the time continuity ensures the respect of the time course. The multiple meaning of the unprocessed material reality emphasizes the reality of the narrative structure. In short, the documentary is composed of those things that are not moved and accidentally encountered with a vague meaning of some causal connection. The polysemy field is the nature of material reality, and is reflected in the form of a one-minute documentary short film. Obviously, the documentary film is committed to the ambiguity and richness in the original appearance of real life. In this sense, the documentary film itself is not only a way of camera expression, but also an event, and also a reaction and attitude of watching the event