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遗落的朱然大墓
The lost tomb of Zhu Ran
互联网类 纪录片 1166 0 2023-01-09
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Details
Chinese / English
作品简述
这是一部关于考古朱然大墓的纪录片,通过对传统纪录片整体框架的重构,配合独特的剪辑与镜头拼接手法,以由浅入深的叙事手法实现科普,结合少量大众耳熟能详的内容填充,生动再现了中国东汉末期东吴社会的人文风貌,对传播东吴文化及大众文物保护意识的培养起到积极作用。
用户价值
区别于常见纪录片通过夸张的辞藻堆砌及特摄镜头博取眼球的开场方式,该作品通过平稳的旁白从古墓的发现、勘测、开掘、考察、印证等流程娓娓道来,在浓厚的学术氛围中将此次科普转变成一次平和的座谈,带动观众融入到考古之中。以往推动情节的引经据典被高还原度影视剧、专家学术性访谈及考古现场片段穿插取代,配合由具有浓重艺术色彩的文学著作到相对晦涩的历史正本的和谐过渡,有效降低理解成本,确保观众能够更为直观地了解墓穴主人的生平,感受东汉末期江东地区的人文经济,在悄然在完成科普目的。 片尾的文物实物展现,配有旁白说明,在呈现文物艺术美感的同时简洁地阐述蕴藏其中的浓重历史价值,进一步深化观众对东吴历史的想想,提高此次科普效果。
商业表现
作品由优酷平台独家播映,自上架至今凭借极高点击率及分享量跻身纪录片类别前十,在向本土观众科普三国文化的同时实现对海外观众的文化输送。
社会影响
随着现代影视文娱行业的多样化发展,现代观众对于科普类考古纪录片的关注日益减少,除却因为对于考古题材无趣的刻板印象,更在于这一类别常态化被动视听的枯燥科普形式。该作品通过对整体框架的树立重建,有效降低理解门槛,以由浅入深的方式推进,完成从科普模式到交互模式的转化,消除观众本能的抵触心理。蒙太奇的手法是点睛之笔,实现文艺性、学术的整合,为观众留下思索与想象空间,确保与情节推动同步。而文学著作到历史正本的承接,消除长待1800年的文化隔阂,带来身临其境的代入感,直观地完成对东汉末期东吴文化的传播。由此,得益于新颖的构思思路与科普形式,该作品不仅有效打破观众对考古纪录片的认知,并在一定程度上能够为同类别纪录片的创作提供方向。
团队组织
作为本作品的总导演,刘永昶负责整个项目的统筹规划。现场拍摄工作由执行导演许安宁及摄影师耿天洋、魏明亚、徐堂茂完成。在项目推进过程中,马鞍山市博物馆,朱然三国墓的家族博物馆提供了大量的珍贵实物、文档与影像资料。所有拍摄成果与资料经过杨黎明后期处理,最终成片。
流程方法
立项伊始,设计团队并未急于着手拍摄工作,而是深度探讨常规纪录片科普效果不佳的原因所在,配合大量影评回馈的总结,最终推导出创意的影片框架与镜头处理构思。同时,大量来自文学著作、野史、历史正本的内容填充与排序,有效丰润作品的文化底蕴,配合珍贵文物的真实近景镜头,确保令观众更深切地感受到中华传统文化的魅力。
项目投入
项目于2020年8月立项,从前期拍摄到后期剪辑制作合计耗时一年三个月之久。
达成情况
社会的发展不该仅靠于对未来的构思,更要注重对历史的回顾,该作品的设计旨在通过记录对朱然大墓的考古行动引起现代人对传统文化的重视。得益于设计团队的创意构思与播放平台的大力推广,该作品终于凭借独特的内容框架与文化底蕴受到大量观众的好评。
Project Description
This documentary is about the archaeological Tomb of Zhu Ran, a famous general of Wu State during the Three Kingdoms period. The documentary can popularize science by using a narrative that starts with simple content that leads to a deep understanding by reconstructing the overall framework of a traditional documentary, coupled with unique editing and shot splicing techniques. With a small amount of familiar content interluded, the documentary vividly reproduces the cultural features of the Eastern Wu society at the end of the Eastern Han Dynasty in China. This plays a positive role in spreading the culture of Eastern Wu and cultivating public awareness of heritage conservation.
User Value
Unlike conventional documentaries that start with exaggerated rhetoric and close-ups for more attention, this documentary narrates the discovering, surveying, excavating, investigating, and corroborating of the ancient tombs through a smooth narration, which turns this science popularization into a eloquent discussion with a strong academic atmosphere and thus encourages the audience to explore more about the archaeology. The quoted historic part arranged to move the plot forward is replaced by highly real film and television dramas, academic interviews with experts, and archaeological site footage. This contributes a harmonious transition from a literary work with strong artistic features to a relatively obscure historical text to effectively lower the standard for comprehension. Meanwhile, it ensures that the audience can more intuitively understand the life of the tomb owner and feel the humanities and economy of the Jiangdong region at the end of the Eastern Han Dynasty to learn more science knowledge subconsciously. The artifact presentation at the end of the film with narration presents the artistic beauty of the artifacts while concisely explaining their strong historical value to enrich the audience's imagination of the history of the Eastern Wu and consolidate the results of this science popularization.
Business Performance
The documentary is broadcast exclusively on the Youku platform and has been among the top 10 documentaries in its category with a high number of views and shares since its launch. It popularizes more knowledge about the Three Kingdoms culture to local audiences while introducing Chinese culture to overseas audiences.
Social Impact
As the modern film and entertainment industry has been diversified, audiences nowadays are paying less and less attention to archaeological documentaries of the science genre. This is not only due to the boring stereotype of the archaeology-themed documentaries but also because the audiences often watch the popularization of this genre in a passive and boring manner. By reconstructing the overall framework, this documentary effectively lowers the threshold of understanding and uses a narrative that starts with simple content that leads to a deep understanding. This has transformed from the popular science mode to the interactive mode to eliminate the instinctive resistance of audiences. As the finishing touch of the documentary, the montage technique combines literary works and academic content for the audience to ponder and imagine and also ensures the advancement of the plot.  The connection between the literary work and the original historical text can bridge the 1800-years cultural gap and bring an immersive viewing experience for audiences. This can introduce the culture of Eastern Wu at the end of the Eastern Han Dynasty directly. Thanks to the novel idea and this form of science popularization, this documentary not only renew the perception of archaeological documentaries in the audiences but also guide the way for other documentaries of the same category.
Team Structure
As the general director of this documentary, Liu Yongchang is in charge of the overall planning of the project. The on-site filming was carried out by Xu Anning, the executive director, Geng Tianyang, and Wei Minya and Xu Tangmao, the cinematographers. In the course of the project, the Ma'anshan Museum, the family museum of the Tomb of Zhu Ran during the Three Kingdoms, provides a large number of precious archaeological objects, documents, and video materials. All the filming results and materials were post-processed by Yang Liming and then became a film.
Flow
The design team did not rush into filming at the beginning of the project but explored the reasons for the ineffectiveness of conventional science popularization documentary. With the help of a large number of film reviews, the design team comes up with a creative framework and a concept of shot processing. Meanwhile, a large number of literary works, unofficial historical records, and historical texts are used to enrich and arrange the plots. This has effectively enriched the cultural deposit of the documentary, which, together with realistic close-up footage of precious cultural relics, ensures that the audience can feel the charm of traditional Chinese culture more deeply.
Project Investment
The project was launched in August 2020 and took a year and three months from pre-production to post-production.
Project Achievements
Social development should not only rely on the blueprint of the future, but also the review of the history. This documentary aims to draw the attention of modern audiences to traditional culture by documenting the archaeological activities of the Tomb of Zhu Ran. Thanks to the creative ideas of the design team and the promotion of the broadcast platform, the documentary has been well-received for its unique content framework and cultural deposit.
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