我思故我在——浅析创作者思维在纪录片中的表达

纪录片是“用影片叙述非虚构的故事”,强调的是对客观事实的纪录。对客观事实的纪录是创作者思维的结果,只有用心思考的纪录片才能唤起观众的呼应和共鸣,创作者的思维是无形的手,决定着片子的深度和方向。纪录片创作者的主观意图的表达究竟在片子创作过程当中处于什么样的地位,创作者究竟应该持有一个什么样的思维尺度,才能在表达创作意图的同时无损于纪录片真实的生命,并且能同时得到观众的认可。     

我很高兴

1．付帐（cash）：右手拇指的食指和中指在空中捏在一起或在另一只手上作出写字的样子，这是表示在饭馆要付帐的手势。     

《我是山姆》

影片简介＆推荐理由 在星巴克工作的山姆,虽已成人,但智力水平只有7岁。后来,一个流浪女为他生下一个女儿后,便人间蒸发。山姆独自抚养着女儿,虽总出些小差错,日子倒也过得快乐。露西长大后变得聪明、漂亮,虽然只有7岁,但山姆已经无法应付女儿提出的许多问题。     

我是狼

我的骄傲的血统让狮虎也为之颤抖,站在月光下,昂起头凄烈地长嚎,连风也会绕道而逃。我们是荒原的主人,草原的霸主。你害怕我们吗?是的,你害怕。你害怕我们尖利的能够撕开风的爪子,     

What Am I?

1.I’m a man,but I can't live inside a house.What amd I?2.I’m a star,but I can't be seen in the sky.What am I?3.The more you clean(清洁)me,the blacker(黑)I become.What am I?4.Though I'm black,I can enlighten(启发)people.What am     

I am or I is？

Teacher： Tell me a sentence that starts will an ＂I＂.
Student： I is the ...
Teacher： Stop! Never put ＂is＂ after an ＂I＂. Always put ＂am＂ after an     

只有我一个

一个幼小的孩子,在弥补着一颗破碎的心灵,只要世界充满了爱,生活就不会失去光彩。     

I am a small boat

我是一只小船 我是一只小船, 教室是我的港湾; 我是一只小船, 铅笔是我的桅杆; 我是一只小船, 书面是我的风帆, 正驶向知识的海洋。     

我正在找一些东西

一天,杰克在课堂上看一本卡通漫画。不幸的是,他被老师发现了。老师走过去严肃地问他:"你在做什么呢?"     

我不是熊

老布莱克先生喜欢猎熊,可是,他的视力不太好。有几次,他没有射中熊,却差点射中人。因此,他的朋友跟他一起打猎时,总是格外小心。一天,一位年轻的朋友想跟他开个玩笑。这位朋友拿了一     

I am not a jinetero

Phantomism is a juvenile social pathology that destroys the social standards set by the Revolution. Its catalyst was the severe endogenous economic crisis brought about by the international socialist plan. That plan created a dangerous socioideological tension in Cuba, which began a socioeconomic restructuring at that time, aimed at creating continuity for the socialist plan. Phantomism is expressed as a retrograde alternative and is reinforced by an alienated individualism that emphasizes consumerism. It is linked to a bourgeois ideology, which is contrary to the humanism of Cuban socialism.     

非洲象的独白

我是大象,不是电话。大象生活在平原上或者是在动物园里。可电话呢？它们要么在客厅的桌子上,要么在你的上衣口袋里,再不然就是在大街上的电话亭里。真不明白为什么就是有那么多人要叫我们“电话”？难道就是分辨不出？     

Now I am NObody,see me for who I am: the paradox of performativity

This paper draws on data collected from young white middle class women experiencing eating disorders to highlight what we refer to as the paradox of performativity in schools. In interviews with these young women on their schooling experiences, their narratives convey both a critique of the social conditions of their schooling and their subjugated subjectivities, yet claim they are unable to ‘voice’ that critique within schools, or to resist performativity. In this paper, we explore this ambiguity and the implications it has for the subjectivities of young women. Such stories vividly reveal the painful and complex processes they endure in an effort to conform to performative cultures. The limits and possibilities of their ‘voice’ within these contexts, we suggest, reveals how performative discourse intersects with and is mediated by the embodied knowledge that both teachers and students bring to these educational encounters.