纪录片

For a successful TV documentary to truly reflect the real life is not enough;its writer and directors should put their emotions into the most striking characters and goings-on,and upgrade its emotionalization to the climax so that the audience could feel the powerful emotional power created by the TV documentary .

真实地记录生活是电视纪录片最基本的要求，然而，一部优秀的纪录片，仅仅再现生活的真实是不够的，必须选取生活中最动感情的人和事，并将编导新的情感倾注其中，并及时抓住情感的高潮点加以渲染，把特定人物特殊情感置于特定情景的特定事件之中，使观众通过人物感觉到纪录片的情感力量。

By specifying the many off-screen and on-screen roles Moore takes for/in the two films, the author tries to do a rhetorical narrative analysis, so as to establish Moore as an enthusiastic social actor with an social exigence to meet and solve, rather than a mere by-stander like observer of social facts.

科技的发展使得纪录片呈现更多样的美学及艺术可能性，Moore视纪录片为社会范本的行动之外，也为纪录片开启一股新风潮，纪录片成为一种语艺类型於焉产生。

Documentaries on man and society and 10 documentaries on nature and environment won Awards of Best Long Documentary, Best Short Documentary, Special Jury Award, Most Innovative Award, Best Director and Best Photography.

在纪录片评奖中，经过国际国内知名专家组成的评委会认真评选，人文及社会类的11部中外作品和自然与环境类的10部中外作品分别获得最佳长纪录片、最佳短纪录片、评委特别奖、最佳创意奖、最佳导演奖、最佳摄影奖共12个奖项。

It is the first time that documentary is put in the main body of Guangzhou Photo Biennial. It is a new take on the nexus between documentary films and photography, as we can find that in the localness of "sightings" and "truth", this nexus binds the two together and make them feed upon each other. Between the parts of From Negative to Positive, Phenomena and independent documentary films, we can find a

本届广州国际摄影双年展第一次把纪录片作为主题展中的一个单元，这表明了策展人对于中国独立纪录片与摄影的关系发展到今天的一种重要认识：在&看&与&真&的本土性经验层面上，两者之间有着密切的联系和互为补充的张力；在&感光&、&显影&与独立纪录片之间充溢着社会叙事与政治伦理的对话与交流。

The innovation of this article is the perspective of "columnized survival". On the one hand, it carries out the summary the course of development of more than 10 years of columnized documentary, positively affirmed the trend of plebification with on-the-spot report concept and the trend of story expressed with entertainment concept; on the other hand, the article carries out meticulous analysis on the existing character of columnized documentary and the differences of non-columnized documentary of tradition. After having analyzed a mass media objectively getting involved in documentary, the article carries out the change coming into being in aspects of documentary such as making idea, production process, aesthetic attributes, narrative technique and social function. It carries out the calm thinking on the appearing problem, and seeks new export to the documentary with columnized survival.

这篇论文的创新之处在于从&栏目化生存&这一角度切入分析纪录片，一方面对纪录片栏目化十余年的发展历程进行概括总结，积极肯定了栏目体制下运作的纪录片所体现出的平民化与纪实观念、故事化与娱乐观念；另一方面，对栏目化生存下纪录片的本体特征、与非栏目化生存的传统纪录片进行细致分析，客观剖析阐述大众媒介介入纪录片创作后，纪录片在制作理念、生产方式、审美属性、叙事手法、社会功能等方面产生的变化，并对其出现的问题进行冷静思考，以期结合当下的生存语境，为目前纪录片栏目化生存的发展探寻新的出口。

Then, it complies with "the plebification trend of documentary with columnized survival", analyzing the plebification trend with on-the-spot report, emphasizing the "on-the-spot report" is the base of documentary with columnized survival, and commenting the documentary's plebification with the "on-the-spot report" concept.

其次，论文从&纪录片栏目化生存的平民化倾向&入手，分析纪录片的平民化与其纪实手法，强调&纪实&是纪录片栏目化生存的根本基石，逐层论述栏目化生存与纪录片的平民化及纪实观念。

This article firstly describes the survival situation, discussing the concept of "what is the documentary","what is the columnized survival" and the relation between documentary and columnized survival. It narrates the development of documentary with columnized survival from three stages, analyzing the characteristic of current-trend on selected topic, plebification of narrating angle and the diversification of performance.

这篇论文首先描述了中国纪录片栏目化生存的整体状况，对&什么是纪录片&、&什么是栏目化生存&、&纪录片与栏目化生存的关系&这三个问题进行概念界定与理论探讨，并以&节目化生存&、&栏目化生存&以及&走向频道化&三个发展阶段叙述了纪录片栏目化生存的发展历程，分析概括出创作选题主流化、叙述视角平民化、表现手法多元化等生存特征。

Looking back the history of documentary film, we find the idea of documentary film has changed greatly with the statement of "fictionalizing reality" growing. documentary film has more functions to explain the reality, so its nature is the whole of three elements,which are recording, realizing and fictionalizing.

纵观纪录片发展的历史，&对现实的虚构&观点的提出，纪录片的理念发生了巨大的变化，它更多的是对现实世界的诠释，纪录片的本性其实是纪录、真实与虚构的三元合一。

The self-view of the object being shot,which was put forward after the value of documentary films being expounded in this article,was consistent with author's creative intentions to a certain extent.

纪录片被称为是&电视中的贵族&，在具有强烈娱乐功能的电视领域之内，纪录片承载着一个与电视本体特征不甚完全吻合的作用，也恰恰因为这种作用的存在，彰显着纪录片独一无二的视觉价值，并在这种价值中不断完善自己，不断发展自己。

By means of lens,language,edit,sound,details,rhythm,mood,shooting angle,structure arrangement and the cooperation of sound,light and colour,the author demonstrates the self-view of the object being shot to the audience in this article.

纪录片必须尊重生活的基本真实，这本身就成就了一种伟大的视听艺术，其地位比故事片重要的多。电影史上每一次革命性的浪潮都是由纪录片发端而发展开来的。除了故事性的区别之外，纪录片可以使用电影、电视的一切手法，这是纪录片的优势所在。

However, as the name（read－only memory）implies, CD disks cannot be written onorchanged in any way.

然而，正如其名字所指出的那样，CD盘不能写，也不能用任何方式改变其内容。

Galvanizes steel pallet is mainly export which suits standard packing of European Union, the North America. galvanizes steel pallet is suitable to heavy rack. Pallet surface can design plate type, corrugated and the gap form, satisfies the different requirements.

镀锌钢托盘多用于出口，替代木托盘，免薰蒸，符合欧盟、北美各国对出口货物包装材料的法令要求；喷涂钢托盘适用于重载上货架之用，托盘表面根据需要制作成平板状、波纹状及间隔形式，满足不同的使用要求。