CAJ | 학술논문

中国电影纪实美学兴起于20世纪80年代，至世纪之交，电影理论界对它的研究经历了“探索争呜期”和“反思建构期”两个重要阶段。“第四代”“第五代”以及“第六代”（“新生代”）导演的创作分别在不同时期体现了纪实关学对于中国电影的渗透与影响。综合这两个阶段纪实美学的研究成果，可以将其概括为四种研究视角和话语形态：电影基础关学范畴、电影现代思潮、中外影像传播理论、正面关注纪实美学的现象及理论等。这四种研究视角丰富了中国电影纪实美学理论体系，对电影创作实践产生了一定影响。
중국전영기실미학흥기우20세기80년대，지세기지교，전영이론계대타적연구경력료“탐색쟁오기”화“반사건구기”량개중요계단。“제사대”“제오대”이급“제륙대”（“신생대”）도연적창작분별재불동시기체현료기실관학대우중국전영적삼투여영향。종합저량개계단기실미학적연구성과，가이장기개괄위사충연구시각화화어형태：전영기출관학범주、전영현대사조、중외영상전파이론、정면관주기실미학적현상급이론등。저사충연구시각봉부료중국전영기실미학이론체계，대전영창작실천산생료일정영향。
China＇s film documentary aesthetics emerged in the 1980s. By the turn of the century, film theorists＇ studies of it have experienced two important stages, namely＂the exploration-and-contention period＂ and ＂the reflection-and-construction period＂. Directors of ＂Fourth＂, ＂fifth＂ and＂sixth＂generations have created works which respectively reflects documentary aesthetics＇ penetration of Chinese films in different times. This paper argues that the findings of a comprehensive study of these two stages of documentary aesthetics, can be summarized as four research perspective and discourse forms： the basic aesthetic category of film, modem film theories, video communication theory home and abroad, and the positive attitude to the phenomenon and theory of documentary aesthetics. These four research perspectives may enrich the theoretical system of China＇s film documentary aesthetics.