中国纪录片

如何增强中国纪录片的社会责任意识？

How to enhance China ' sdocumentary social responsibility consciousness ?

九十年代中国纪录片研究二题

Two aspects of the 1990 's china 's documentary film

中国纪录片创作观念的变迁探析

The Research on Developing Creative Conceptions of Chinese Documentary

中国纪录片的又一个春天正向我们走来。

China documentary another spring is before us .

适应市场是中国纪录片未来发展的必由之路。

To adapted itself to market is the only way for Chinese documentary to development .

2007年最让人难以忘怀的中国纪录片！

The most unforgettable Chinese documentary in2007 !

论当代语境下中国纪录片的民族精神及其发展策略

On the Context of Contemporary Chinese Documentary " National Spirit " and Its Development Strategy

时至今日，日益边缘化的中国纪录片创作呼唤选题视点向社会主流生活的复归。

At present , China documentary film creation calls for a return to social mainstream life ;

以前的片子脱离了这二者的基本标准，中国纪录片是在自己淘汰了自己。

The previous two films out of this basic standard , the Chinese are in their own documentaries out of its own .

以《百姓故事》为代表的大众纪录片的出现，是中国纪录片、中国电视传媒发展的历史必然。

The emergy of mass documentary , which is represented by Common Story , is a historical necessity as the development of documentary tele media in China .

而回首中国纪录片发展历程，也不难发觉，历史与其中所占据的地位和分量是何其重要。

Having looked back through the process of Chinese documentary development , it is never hard to find that history has played a significant role in its change .

90年代中国纪录片的这三种主要形态在当今文化的影响下，经历相互间的冲撞与融合，逐渐形成了各自的特点，并日益明显地呈现出各自的发展态势。

Under the influence of contemporary culture the three forms of documentary clash with each other and merge into one another , demonstrating its individual traits and tendency .

本文主要通过对相关资料的分析及对中外纪录片的比较，归纳和概括了中国纪录片发展的现状。

In this paper , through analyzing the relevant information and comparing the Chinese and foreign documentaries , inducted and generalized the current development situation of Chinese documentaries .

改革开放之后，少数民族题材纪录片如雨后春笋一般在全国各地蓬勃发展起来，开启了中国纪录片发展的又一个黄金时期。

After the reform and opening up , minority theme documentaries like springing across the country to flourish together , opening up a golden age of Chinese documentary development .

中国纪录片在50多年的发展中孕育了一大批优秀的纪录片导演，康建宁导演正是其中最重要的成员之一。

Chinese documentary in 50 years , nurtured the development of a large number of excellent documentary director , Kang Jianning director , is one of the most important member .

《百姓故事》的产生是中国纪录片长期发展的必然产物，是中国电视传媒乃至中国社会进一步开放的标志。

Common story is an inevitable outcome of the long term development of documentaries in China , and a significant sign which revealed a further opening in tele media sphere and even in Chinese society .

到90年代纪实观念的引入，使中国纪录片历史性地转向了追求客观与真实，以纪实手段关注事物和生命本体的创作轨道。

And in the 1990s , as the introduction of the concept of record , Chinese documentary was diverted to pursue objectivity and authenticity , paying attention to the creative orbits of objects and life using the record technique .

创作理念的批评是贯穿纪录片批评的一条主线，对它的研究既能清晰地分辨出中国纪录片批评的发展过程，又能从中窥见中国批评者对国外各种理念的选择与运用。

The criticism about creation conception is a chief clue which runs through the course of TV criticism . We can distinguish the development of TV documentary films clearly and detect the selection of idea from abroad by our study on it .

在中国纪录片不断经历着着外来理论洗礼的时期，康建宁导演不但能够与时俱进地吸收着这些养分，同时也能够在不断钻研和实践中形成自己独特的风格特征。

Documentary in China , experiencing a continued period of external theory of baptism , Kang Jianning directors can not only absorb the times of these nutrients , but also be able to continue to study and practice to form their own unique style features .

在本文中，叙事视角有三种，包括全知全能、限知视角和多元化视角，突出反应了中国纪录片从单一乏味到高高在上，再到回归纪实、平视大众，最终趋于多元的过程。

There are three narrative perspective In this article , including the omniscient and omnipotent , restrained perspective and diverse perspective , outstanding response to the documentary China from a single boring to high above , to return to documentary , head mass , and tended to multi-process .

中国电视纪录片批评之演变及展望

The Development and Prospect of TV Documentary Film Criticism in China

浅谈中国电视纪录片的市场化生存

A Study on the Market Saturation of TV Documentary Films in China

中国国产纪录片在国内受到了越来越多的重视。

Chinese domestic documentary has been attracting more and more attention at home .

2003年，《唐人街》栏目获得第九届中国电视纪录片学术奖的特别奖和录音奖。

In 2003 , it won the Special Award and Best Recording Award in the Ninth China Television Documentary Academic Award .

通过对媒介生态因子的研究，分析其对中国电视纪录片群落的影响。

Through to the medium ecological factor ' sresearch , analyzes it to the Chinese television documentary film community ' sinfluence .

本文还认为，运用小景别镜头展示细节，固然给当代中国电视纪录片带来了可视性。

The essay also points out that the demonstration of the details of little scene lens has brought to Chinese documentary positive influence .

笔者认为中国题材纪录片的国际化依赖于它的文化特色以及市场化程度。

The author believes that the internationalization of China documentary dependents on its cultural characteristics , as well as the degree of its market-oriented .

中国电视纪录片从风格上分为京派纪录片、海派纪录片、西部纪录片三大流派。

Depending on the style , we can divide Chinese televised documentary into three genre : Beijing documentary , Shanghai documentary , and western documentary .

在受众的观念里，中国本土纪录片一直是与传统的政教片紧密结合在一起的，充满了主体意识和说教色彩。

In the audiences ' view , the local documentaries in China has been closely with the traditional church-state together , and full of consciousness and preaching color .

随着计算机技术、摄像技术不断更新升级，中国历史纪录片在积极适应变化之中完成一次华丽转型。

As the huge technological progress and continuing updates in photography , the chinese historic documentary has successfully met its impressive turn-over during this kind of active adaptation and adjustment .