راهبردهاي مستند ساز در رويارويي با واقعيت ( مستند بسته، مستند ياز)

The docu maker Strategies Facing the Reality, Opened and Closed Documentaries

پژوهش حاضر به بررسي شيوه‌هاي گوناگون مستند و راهبردهاي مداخله، بيان و مصور ساختن واقعيت و راه‌هاي به كار گرفته شده از سوي مستندساز با استفاده از روش اسنادي- توصيفي مي‌پردازد. ارائه چارچوبي نظري براي شناخت تفاوت‌ها ميان مستندهاي تلويزيوني، نحوه مداخله مستندساز، تفسير او از دنياي پيرامون و سرانجام راهبردهاي اتخاذ شده از سوي مستندساز در مواجهه با واقعيت، اهداف پژوهش حاضر مي‌باشد. حركت از حوزه گسترده و وسيع «دنياي واقعيت» به سمت برنامه مستند، الزاماً نوعي انتخاب و گزينش را به دنبال دارد كه به دگرگوني ناگزير در مراحل مختلف توليد برنامه مي‌انجامد كه نوعي «مداخله» محسوب مي‌شود. فرضيه پژوهش بر اين چارچوب نظري استوار است كه براي درك بهتر نحوه مداخله مستندساز در انعكاس واقعيت مي‌توان از مقياسي تحت عنوان «مستند‌ بسته – مستند باز» بهره گرفت. اين پژوهش سعي دارد، دو مقياس نظري «ميزان» و «نحوه مداخله» را در قالب نظريه‌اي تحت عنوان «مستند باز و مستند بسته» بررسي كند و آن را به اثبات برساند.

The main issue of this essay is to survey on the various modes of television documentary and examines the documentary strategies of intervention, visualization, and representation of reality which documentary filmmakers have practiced. The goal of this essay is also to suggest a theoretical framework in order to recognize and distinguish among documentaries and suggest a framework for discussing , and making distinctions among documentaries by a descriptive method. The framework of this article outlining is based on a theoretical platform . The primary goal is to advance parameters for an analytical engagement in documentaries .This must be the right place for integrating framework; We can make a distinction between two fundamentally different offerings, and correspondingly two oppositional motivations. on the one hand that which is “ closed Documentary“ , exclusive , and embracing in its dealing with knowledge. Which is argumentative , persuasive and heavily concerned with proving its conviction of certainty. and on the other hand is “opened Documentary which wants to expand and open up the territory of signification by triggering off a metaphorical, associative, emotional or poetic reflection . The degree of intervention will be determinant in relation to the kind of aesthetics found in the program .It might be helpful to visualize this parameter as a continuum stretched out between a low and a high degree of intervention . A strategy of low intervention means giving high priority to the pro- films in itself .Doing as little as possible in terms of intervention means trying to catch reality out there as it unfolds without disturbing it too much. We can say that primary representation is the kind of representation exercised when the degree of intervention is low. Secondary representation has to do with talking about and referring to reality without showing it . An open documentary could then either be the non-interventional type , or the interventional type relinquishing the rhetorical tools of explicitly and authority and the propositional advantage of the direct mode of address.