颠覆性纪录片:在澳大利亚教授混合纪录片制作

IF 0.4 0 FILM, RADIO, TELEVISION
Phoebe Hart
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引用次数: 0

摘要

摘要作为一名澳大利亚的纪录片教育家和实践者,在冒险捕捉和再现他人的生活时,“真相”是我和我的学生都关心的一个领域。纪录片似乎很难制作,尤其是对新手来说,尤其是在考虑混合非小说类型形式时。我的学生们提出的问题往往集中在他们在“后真相”时刻能在多大程度上融入现实,以及这样做的实际和道德挑战是什么?这篇论文敦促教师和制作人都参考那些以真实的描述进行调查的老牌纪录片制作人,这些描述往往超越了对事实的说教式背诵。我引用了《招魂滚雷评论:鲍勃·迪伦的故事》(Martin Scorsese执导,2019)和《排练》(Nathan Fielder创作并主演,2022)的例子,就颠覆性非小说如何在参与者、观众和电影制作人之间形成纯粹的三元关系进行了务实的讨论,这必然涉及道德和创造力的重叠。我引用了最近的一部学生混合纪录片《Bustard Head》(Lucy Lakshman执导,2021)作为这种以教育为导向的方法的一个例子。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Disruptive docs: teaching hybrid documentary filmmaking in Australia
ABSTRACT As a documentary educator and practitioner in Australia, ‘truth’ is an area of concern for both my students and I in undertaking the risky capturing and the representation of the lives of others. Documentaries are deceptively difficult to make, especially for the novice, and most especially when considering hybrid non-fiction genre forms. The questions my students pose often centre on how much can they blend reality in the ‘post truth’ moment, and what are the practical and ethical challenges of doing so? This paper urges teachers and makers alike to refer to established documentarians who investigate at truthful depictions that often transcend the didactic recitation of facts. Citing the examples of Conjuring the Rolling Thunder Revue: A Bob Dylan Story (directed by Martin Scorsese, 2019) and The Rehearsal (created by and starring Nathan Fielder, 2022), I present a pragmatic discussion as to how disruptive non-fiction form a pure triadic relationship between participants, audiences, and filmmakers, which necessarily involves the overlap of ethics and creativity. I refer to a recent student hybrid documentary film Bustard Head (directed by Lucy Lakshman, 2021) as an example outcome of this pedagogically oriented approach.
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来源期刊
Studies in Australasian Cinema
Studies in Australasian Cinema FILM, RADIO, TELEVISION-
CiteScore
0.50
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发文量
7
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