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| Title: | Reconsidering “Cinéma Vérité” and “Direct Cinema”: The Modes and Strategies of Documentary Filmmaking in Hong Kong Protest Documentaries Yellowing and Inside the Red Brick Wall
重思「真實電影」與「直接電影」：香港抗爭紀錄片《亂世備忘》和《理大圍城》的紀錄片模式與策略 |
| Authors: | 林庭瑩
Lin, Ting-Ying |
| Contributors: | 華文博 |
| Keywords: | Hong Kong cinema;Hong Kong protest documentaries;Cinéma vérité;Direct cinema;Yellowing;Inside the Red Brick Wall
香港電影;香港抗爭紀錄片;真實電影;直接電影;亂世備忘;理大圍城 |
| Date: | 2024-12 |
| Issue Date: | 2025-02-14 10:19:49 (UTC+8) |
| Abstract: | Shifting the focus from the prevalent issues including the environmental, political, and historical connections that have been extensively explored in the recent scholarship on Hong Kong protest documentaries, this article reconsiders and reevaluates the less-examined domain of documentary filmmaking paradigms, with a particular emphasis on "cinema verite" and "direct cinema." It focuses on the analysis of two pivotal Hong Kong protest documentaries, Yellowing, centered on the 2014 Umbrella Movement, and Inside the Red Brick Wall, which documents the events during the 2019 Anti-Extradition Bill Movement. This article investigates how the two documentaries manifest the distinctive characteristics of cinema verite and direct cinema respectively, shedding light on the modes and strategies of documentary filmmaking in these two works. More specifically, the first section of the article critically examines Yellowing, illustrating how this documentary embodies the participatory, reflexive, and interventionist dimensions of cinéma vérité, reassessing the problems and limitations of this paradigm in documentary filmmaking. In the second section, the focus shifts to Inside the Red Brick Wall, which examines the observational approach of direct cinema employed by the filmmakers and how this documentary transcends the conventions of direct cinema through the documentary filmmakers' editorial and transformative strategies. Ultimately, this article argues that these two representative Hong Kong protest documentaries, Yellowing and Inside the Red Brick Wall, embody the characteristics of cinéma vérité and direct cinema respectively, offering a perspective through which to analyze the relation between documentary filmmaking techniques and the representation of reality. By explicating these two exemplars of Hong Kong cinema, this article seeks to provide theoretical contributions with critical insights into the paradigms of cinéma vérité and direct cinema.
在既有的香港抗爭紀錄片研究之中，較被廣為探討的議題包括紀錄片與環境、政治和歷史之間的關聯性，本文由此基礎出發，進而轉向重新審視紀錄片攝製的典範，特別聚焦於「真實電影」與「直接電影」紀錄片典範的美學與方法論。本文分析兩部具有代表性的香港抗爭紀錄片：一為以2014年雨傘運動為主題的《亂世備忘》，二為記錄2019年反送中運動期間理大事件的《理大圍城》。本文主要探究上述兩部紀錄片如何分別體現「真實電影」與「直接電影」之特徵，並分析其紀錄片攝製模式及策略。本文的第一部分，將深入探討《亂世備忘》如何體現「真實電影」典範中，具有參與性、反身性與干預性之特質，並重新檢視「真實電影」典範在紀錄片創作中的問題與侷限；第二部分則聚焦於《理大圍城》，探討攝製團隊如何採用「直接電影」典範的觀察性手法，並通過剪輯與轉化策略超越「直接電影」的傳統模式。最終，本文一方面提出這兩部香港紀錄片分別體現了「真實電影」與「直接電影」典範之特質，為分析紀錄片攝製方法與再現真實之關係提供了一個新的視角。另一方面，透過對此二部紀錄片之分析，本文希冀能重新思考「真實電影」與「直接電影」紀錄片典範的美學與方法論，並就紀錄片理論層面提供具批判性之觀點。 |
| Relation: | Tamkang Review: A Journal of Cultural and Literary Studies, Vol.55, No.1, pp.85-104 |
| Data Type: | article |
| DOI 連結: | https://doi.org/10.6184/TKR.202412_55(1).0004 |
| DOI: | 10.6184/TKR.202412_55(1).0004 |
| Appears in Collections: | [華語文教學博／碩士學位學程] 期刊論文
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