纪录片也要讲故事外文翻译资料

Documentaries also have to tell stories

Sheila Curran Bemard

From the angle of documentary story telling, the author introduces how to send the dramatic events in real life and arranges them skillfully to provide the audience with a unique perspective and experience. The author provides strong guidance and advice from the research before shooting, writing the shooting plan, to every step of photography and editing.

This is an exciting era for documentaries and filmmakers. Changes in technology, production media and consumption patterns are constantly creating new opportunities. The stories in the documentary are discovering new audiences both locally and globally. Its not just the documentary itself, but also the 'story' in the documentary. Look at the recent life. In the Born into brothels, Grizzly Man, the diary of the March of the penguins, Super Size Me, these films are not successful because of their success. How important and drums are their successes are often important, exciting and inspiring because they have captured the audience and led the audience through an unforgettable journey. These films achieve this effect by telling stories.

The documentary also tells stories, which introduces a series of creative schemes such as the structure, viewpoint, balance, style, and selection of characters. No matter what specific role producers, directors, writers, clips, photographers, investigators, editors, or executive producers, how to tell stories will be the core of your entire career. For most excellent documentaries, how to tell stories is the key to their attraction, including influential people, powerful dramatic tension, and a convincing plan for the overwhelming majority of planners and investors, especially those who wish to get good results at local and overseas box offices. Storytelling strategy is the top priority for people and investors. Even native or professional works that may have had a fixed audience (student, museum fan, employee) can also become more infectious by better story telling, which usually does not require extra cost, and sometimes, however, how documentary producers should learn to tell infective and competitive. What about the story of the force?

The infectivity of documentaries originates from facts and is fictitious. We cant invent love nodes or arc of characters, as we desire. On the contrary, we must excavate them from the original material of real life. In our documentary, the story is based on creative arrangements for material rather than creative inventions. The documentary film brings them into the new world by taking images of real people, space, events and other images in real life, and bringing them into a new world to get them a new experience. The so-called authenticity is that the filmmaker weaves the whole story with these real elements, and tries to keep the story with a strong appeal while preserving the truth. 'Unlike fictional artists,' Eric Barnouw wrote in his 1974 Book documentary, 'a documentary maker is not committed to creating a device but choosing and planning a device story that can express his own story to achieve such a plan may begin with an idea or a hypothesis,' Or a series of questions. ' In this process, the more you understand the story, the more fully you prepare in a creative and fascinating story, the more infectious you will be.

Story: an interesting narration or narration of a matter or series of events to attract listeners, whether they are readers, listeners or spectators. Telling a vivid story, quite a lot of recent documentaries on television are about the end and the events that have happened. The film still needs to be carried out in the narrative. The way to solve this problem is to present what happened in the past in the form of story telling. Secondly, one of the biggest misunderstandings in documentary filming is that producers often assume that the story of a film happens spontaneously. In fact, I have heard a lot of talk about filmmakers. They believe that the story will appear itself in the production process or even in the editing room. Of course, this may be right. It may be true for experienced filmmakers, but it does not mean that the filmmaker only needs to shoot material, but in the process there is no story in the brain. He just changed the focus of the story, or adjusted the film structure in production and later synthesis. Documentary storytelling is achieved through actual shooting and postproduction. At the same time, documentaries should not only help people to kill time, but should do more things. It should appeal to the spectators to participate very much in order to motivate the audience to think about what they know, how they know and what they may want to know more.

Beginnings: the foundation of your story: who, what, where and why. It provides the audience with the tools needed to track the story, and more importantly, starts to guide the audience into the story. But that does not mean that it is divulging everything to the audience when they need to know the information. Beginnings are sometimes seen as something that should be avoided, but the audience is a shadow. As far as the understanding of the film is concerned, it is necessary.

Narrative chain: Movies lead audiences and films to advance in time. You want the story to move forward in order to get the story started. You are curious about the information that you want the audience to give you. When the beginning involves the story behind the scenes that let us understand that we are in the position to start telling the story of the film, it is a good idea to let a story go ahead in the present. (Even the story of the story is in the past). The general story of the film is the main narrative of the film, as Ronald Bulmer and Mouffet Mel, the producer of the mid de Marti film company, described the chain as the chain of series, which is the e

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纪录片也要讲故事

（美）希拉·柯伦·伯纳德

作者从运用纪录片讲故事的角度出发，介绍了怎样发据现实生活中的戏剧性事件，并对这些素材进行巧妙安排，给观众提供独特的视角与体验。从拍摄前的调查研究、撰写拍摄计划，到摄影和剪辑的每一个步骤，作者都提供了有力的指导和建议。

对纪录片和电影制作者来说，这是一个令人激动的时代。在技术、制作媒介与消费方式上的变革正在不断创造新的机遇，纪录片中的故事正在本土和全球发现新的观众。不只是纪录片本身，还有纪录片中的“故事”。考察一下最近的生于妓院》( Born into brothels )、《灰熊人》( Grizzly Man )、《帝企鹅日记》( March of the penguins )、《超码的我》( Super Size Me )，这些影片之所以成功不是因为它们有多重要和有多令人鼓的成功们往往也是重要的、令人激动的、催人奋进的一是因为它们抓住了观众并带领观众经历了一次难忘的旅程。这些影片是通过讲故事达到这种效果的。

《纪录片也要讲故事》介绍了影片的结构、视点、平衡点、风格、挑选人物等一系列创造性方案。无论你是什么具体角色制片人、导演、撰稿、剪辑师、摄影师、调查员、策划編辑或者执行制片人，如何讲故事都会是贯穿你整个职业生涯的核心问题。对绝大多数优秀纪录片来说，如何讲故事正是他们吸引人的关键所在，其中的要素包括:富有感染力的人物、强大的戏剧张力以及一个让人信服的结对绝大多数策划人、投资人，特别是那些希望在本土和海外票房上都获得佳绩的策划人和投资人来说讲故事的策略乃是重中之重。甚至那些或许已经拥有了固定观众群(学生、博物馆迷、员工)的本土作品或专业性作品，也能通过更好地讲故事而变得更有感染力，这样做通常也无需额外的花费，有时还会降低然而，纪录片制作者该如何学习讲述富有感染力和竞争力的故事呢?

纪录片的感染力来源于事实而虚构，我们不能随心所欲地发明情节点或者人物弧，相反的，我们必须从现实生活的原始素材中去挖掘它们。我们纪录片中的故事是建立在对素材进行创造性的安排而非创造性的发明之上的。纪录片通过拍摄现实生活中真实的人物、空间、事件等的影像并经过人为加工，将他们带进新的世界之中，让他们获得全新的体验。所谓真实性是指:影片制作者用这些真实的要素编织成整的故事，并努力使这个故事在保留了真实性的同时也具有强烈的感染力。埃里克·巴尔诺在他1974年的著作《纪录片》书中写道，“不像虚构片艺术家，纪录片制作者所致力的不是创造而是选择和筹划那些能够表达他自身的发故事就是用来实现这种筹划的设备故事可能始于一个想法，也可能始于一个假设，或者一系列问题。” 在这个过程之中，你对故事理解得越透彻，在富有创造性地、引人入胜地讲故事上准备得越充分，你拍摄的影像就会更具感染力。

故事：是对一件事或一系列事件进行有趣的叙述或讲述，以吸引倾听者，无论他们是读者、听众或观众。讲述一个生动的故事，最近在电视上播映的相当多的纪录片是关于结束了的和已经发生的事件的。仍然需要以在叙述中展开影片。一种解决的方法是以故事讲述的形式呈现过去那一刻发生的事情。其次在纪录片摄制中的一个最大的误区是制作者往往认为影片故事是自然而然地发生的。事实上，我曾经听到过相当多电影制作者的高谈阔论，他们认为，故事会在摄制过程中甚至剪辑室里自己显现出来。当然这也许是正确的。对于经验丰富的电影制作者而言也许的确如此，但这并不意味着影片制作者只需要一味地拍摄素材，而在此过程中大脑里并没有形成任何故事，他只不过改变了故事的重点，或在制作和后期合成中调整了影片结构而已。纪录片讲故事是通过实际拍摄和后期制作来实现的。同时纪录片不应该只是帮助人们消磨时间，而应该做更多的事情。它应该呼吁观众积极参与，激发观众去思考他们知道些什么，他们是怎么知道的，以及他们可能更多地想知道什么。

开端：是奠基你故事的基础的信息:谁、什么事、在哪里发生，以及为什么发生。它提供观众所需要的跟踪故事展开的工具，更重要的是，开端引导观众深入故事之中。但这并不意味着泄露一切是在观众需要了解这些信息的时候将它们泄露给观众。开端有时会被视为应该避免的事情而引发讨但是，就观众对一部影片的理解而言，它却是必须的。

叙事链：电影带领观众与影片一起在时间中推进。你希望故事的讲述也往前推进，以引出故事开端。换你想让观众对你提供给他们的信息产生好奇。当开端涉及到幕后故事一一让我们明白自己置身于位置一一在开始讲述影片的总故事之前先让一个发生在当下的故事向前推进一—是个不错的点子(即使影片要讲的总故事是发生在过去的)。影片的总故事作为影片的叙事主干，正如米德尔马契电影公司的制片人罗纳德·布卢默和穆菲·梅尔描述的那样，是串联起部影片的链条这根链条就是故事的要素，它贯穿影片的始终，并且推影片向前发展，找到一个恰当的链条，以此为基点展开故事，你就可以根据需要制造一些“迂回”，如开端、复杂的推理、补充角色一一任何你所需要的有时，这些“迂回”帮你埋伏下一些将在影片后段交代清楚的信息:有时，受故事链的刺激，观众希望循着这些“迂回”回溯以了解更多隐藏信息。有一种方法能训练你迅速地找出纪录片的叙事链，就是观看大量成功的纪录片，它们在主题和风格上都与众不同，你可以由此判断你能否辨识出影片的叙事链。

主题：以直击人心的故事吸引观众，李克·伯恩斯说：“主题告诉你你的故事的高潮所在，这就是你的影片所关注的事情”。伯恩斯选择讲述命运多舛的“当纳聚会 Donner Party的成员们在1846年试图抄近道去加利福尼亚的故事，不是因为他们的自相残杀行为可能会迎合部分趣味庸俗的观众，而是因为这些人的故事阐释了制作者想要表达的主题。

张力：令人动情的故事讲述的另一个方式是将一些决定利害攸关的事情，增加张力直到最后一刻。观众期望临近结局之时故事中的张力会不断增强:每场戏越来短;动作越来越紧凑；生死攸关的部分越来越充满高度的悬念。随着观众开始了解故事人物以及理解他们的所思和所需，观众便愈加物的命运走向一一这就是观众走进了故事。

钩子：在评价一个故事时还需要考虑的一个问题是，这个故事有没有一个钩子?用最简单的话来说，钩子首是勾起你对这个主题的兴趣的东西。它是揭示故事本质及其特征的信息的浓缩，是即将展开的戏剧故事。《无声的呐喊》讲述了一个想要进行人工耳蜗移植的小女孩的故事。故事的钩子不她想进行移植手术，也不是这个最重要的医疗技术成就耳蜗移植术，而是这个小女孩的父母。她的父母在是否让他们的女儿进行耳蜗移植手术这一点上无法做出抉择，而这点却与大多数观众的期待完全相反。但恰恰就是故事的这个部分扣住了观众的心弦，让他们想要了解更多有关这个故事的信息。

带动观众的情感的影响参，通过讲述一个故事，对观众造成巨大的情感冲击，并激发他们的参与热情，这可能是最困难的，我们常说:“要展示，而不是讲述”，这意味着在提供证据和信息的同时，要让观众亲身经历其间，让他们期待。记住，不管怎样，最终的结果是，一个能够抓住观众、吸引观众，理想的状态是在影片上映很久之后仍然长时间地留在观众心中的一个故事。

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