360°全景纪录片研究.pdf

摘要 新技术往往是影视艺术获得发展、引发美学变革的契机。出现于上世纪 50 年 代的虚拟现实技术，多年来一直在不同领域广泛应用。近年来，其变种形式 360° 全景技术，越来越多地应用于影视作品的制作，其中也包括非虚构的沉浸式新闻 与 360°全景纪录片 （360° panoramic documentary）。 这种新形式的影片与普通纪录片在画面与声音形式、机位设置、剪辑等诸多 方面，存在显著差异。本文仔细审视了全景纪录片的诸多特征，广泛结合片例进 行分析考察。因其独特的媒介形式，全景纪录片有着强大的视听仿真潜力，能够 使观者产生强烈的沉浸感与临场感。 通过援引安德烈·巴赞的现实主义理论，本文认为全景纪录片并不致力于客 观纪实，而是一种以使观者获得主观的“体验真实”为目的，带有实验性质的纪 实影片。媒介痕迹与作者身份的隐匿，以不恰当的距离窥视他者的苦难，可能会 导致伦理问题。目前全景纪录片尚处于初始发展阶段，在视听语言方面还需要进 一步发展探索；沉浸式的“体验真实”会对纪录片接受造成何种影响，也有待更 多研究探讨与资料佐证。 关键词：虚拟现实，360°全景纪录片，沉浸感，临场感，巴赞，伦理 I Abstract New technology is often an opportunity for the development of film art and the transformation of aesthetics. Virtual reality technology, which appeared in the 1950s, has been widely used in different fields for many years. In recent years, its variant 360° panoramic technology has been increasingly applied to the production of film works, including non-fiction immersive news and 360° panoramic documentaries. This new form of film, in the form of picture and sound, camera positioning, editing and many other aspects, significantly different from the traditional documentary. This paper has carefully examined many features of 360° panorama documentary, and made extensive analysis and investigation with film examples. Due to its unique media form, 360° panorama documentary has a strong potential of audiovisual simulation, which can make viewers have a strong sense of immersion and presence. By citing André Bazin s realism theory, this paper argues that 360° panorama documentary is not dedicated to objective document, but rather an experimental documentary film with purpose of making viewers experience the subjective reality. The concealment of media traces and the identity of the author, as well as the inappropriate distance from other peoples suffering, may lead to so