长久以来，由巴赞、克拉考尔代表的纪实学派之观念，基本垄断了学界对于电影纪实理论的理解；而电影纪实之实践，则往往被限定于纪录片或诚实摹写现实的影片类型当中。然而无论在理论思潮抑或影像创作层面，电影纪实性都已然经历了多次变易，不断突破着早期的概念边界。参看电影技术与哲学上的两重动因，一是愈发普及、轻量化的摄影器械以及数字技术、互联网等媒介基础，加速了影像创作的平民化，昔日为真实提供解释力的中心权威则难以为继；二为后现代主义哲学思潮对理念、理性主体地位的冲击，冷战、核威慑、消费主义、价值湮灭……一系列社会状况让人们不断质疑主体以及由主体确认的意义之稳固。于是，在一种去中心化、反主体的浪潮下，曾作为客观实在的影像纪实性逐渐被生物学、心理学层面的认知主体接管，纪实性不再依赖某种理念共识，而是建基于感受共识。在影像纪实研究方面，为厘清不同阶段纪实性理论的明晰范畴及时代局限，本文采用分析哲学之“必要条件与充分条件法”，主要考察纪实主义学派、电影符号学（第一符号学与第二符号学）与电影哲学三个阶段的理论边界。本文认为，此三阶段分别从影像之索引性、象征性与时间生成维度建构起不同的纪实性概念描述，反映了纪实判断从政治导向到科学导向，再到个人化的演变路径。该差异并非理论自身的辩证与深化，而是人类为应对变易的生存环境，不断更新其体认现实之方式的结果。若差异的外部环境导致了纪实性概念范畴的变异，不断被提及的“纪实”术语本身则指向某种相对稳定的东西，三阶段的理论从自动机器、现实程序或绵延时间的角度，不约而同地重复阐释出纪实性一核心能量，即其必然内含某种人类无法插手改变的、对于纯粹过去的证明力。这在一个理性逐渐萎缩、价值日趋暧昧的时代，或是人类唯一值得仰赖的确定之物。
The theory of cinematic realism has long been bound to the judgment by Bazin and Kracauer, while the practice of cinematic realism is often classified into documentary films and narrative films that depict social reality. However, the cinematic realism has undergone many variations, constantly breaking through the original concept and practice boundaries. There are two main reasons for this evolution in technology and philosophy. First, the increasingly popular and lightweight photographic equipment, digital technology, the Internet and other material bases make filmmaking increasingly popular, which makes it difficult for the central authority to maintain its interpretation of reality; The second is the impact of post-modernist philosophy on the status of ideas and rational subjects. The cold war, nuclear deterrence, consumerism, and the annihilation of values... a series of social conditions make people doubt the stability of the subject and the meaning confirmed by the subject. Therefore, the cinematic realism, which was once an objective reality, was gradually taken over by the cognitive subject at the biological and psychological levels. The realism is no longer dependent on some conceptual consensus, but based on the perception consensus.In order to clarify the realism theory at different stages, this article adopts the method of ＂necessary and sufficient conditions＂ of analytical philosophy, mainly examining the theoretical boundaries of the three stages of realism school, film semiotics and film philosophy. This article believes that these three stages construct different descriptions of cinematic realism from the dimensions of index, symbol, and temporal generation, reflecting the evolutionary path of realism judgment from political to scientific, and then to personalization. This difference is not the dialectic and deepening of the theory itself, but the result of constantly updating the way humans perceive reality in response to the changing living environment. In addition, theories at various stages present a similar idea through different means. That is, it must contain some kind of proof of the pure past that humans cannot intervene to change. This is an era in which rationality is gradually shrinking and values are increasingly ambiguous, and such proof might be the only certainty that humans can rely on.
