纪实电影，特指具有纪实风格的虚构类故事片（不包含非虚构类的纪录电影）。其主要特点是，尽可能客观地以现实实际可能发生的情景和过程来叙述故事。视点的客观性、事件的原生态、视听的真实感，构成了其基本美学特征。在逆全球化风潮兴起的时间节点和现实主义在世界电影艺术中回归的当下，本文以文献研究、文本细读、个案分析为主要方法，对后冷战时期（1992至2023年）的纪实电影开展研究，试图探索全球化背景下电影纪实美学发展的新特点。本文首先研究了90年代以来重要纪实电影导演及其代表性作品，勾勒全球化背景下纪实电影格局，并在此基础上，按照全球化程度由高到低，选取了日本的是枝裕和、中国的贾樟柯和伊朗的阿巴斯·基亚罗斯塔米进行个案分析，概括其创作观念、美学特征及其社会历史成因，结合全球化背景分析纪实美学的发展趋势。经研究，文本认为全球化背景下电影纪实美学的新特征主要有四点。第一，纪实美学的多元风格。90年代以来，纪实电影的摄影真实感的来源从摄像机的索引性转变为多种摄影风格带来的心理信任，表演倾向从塑造典型转变为呈现具体的个体，纪实美学内部发展出多元化风格特征。第二，介入全球的民族性。90年代以来，纪实电影中的民族性愈加凸显，民族现实提供故事，民族性格塑造人物，民族传统启发叙事，民族美学影响视听。民族性使纪实电影作者有机会以独特的姿态介入全球文化交流，世界性场域也使有根基和土壤的纪实电影熠熠闪光。第三，开放的纪实美学。开放性作为纪实美学的重要特征，在后冷战时期发生了重要变化，即成为一种“开放的开放性”。一方面，纪实美学叠加悬念感、情感化、趣味性手段，更靠近观众；另一方面，纪实美学征用象征、隐喻、超现实元素，更彰显作者。纪实美学在对其他流派美学元素的有限度使用中形成了走向融合的趋势。第四，全球视点与全球化讲述。全球化进程中世界变化不仅为纪实电影提供了内容题材和国际化的合作方式，更重要的是为纪实电影赋予了新的全球视点和面向世界“求同存异”的讲述方式。然而，在纪实电影的全球流动和交流中，区域性的纪实美学如何保持地方特色、避免同质化发展也是需要面临的挑战。
Documentary-style fictions refer specifically to fictional films with a documentary style (excluding non-fictional documentaries). Their main characteristics are the objective portrayal of potentially real situations and processes as much as possible. The objectivity of the viewpoint, the rawness of the event, and the authenticity of the audio-visual elements constitute their basic aesthetic features.In the context of the rise of anti-globalization trends and the return of realism in world cinema, this paper conducts research on documentary-style fictions in the post-Cold War period (1992 to 2023) using literature research, text close-reading, and case analysis as the main methods. The aim is to explore the new features of aesthetic realism in the context of globalization. This paper first investigates the significant documentary-style film directors and their representative works since the 1990s, outlining the pattern of documentary-style films under globalization. On this basis, directors Hirokazu Kore-eda from Japan, Jia Zhangke from China, and Abbas Kiarostami from Iran were selected for case analysis according to their degree of globalization from high to low. Their creative concepts, aesthetic characteristics, and social historical causes are summarized, and the development trend of documentary aesthetics is analyzed in the context of globalization.Through research, the paper identifies four new features of aesthetic realism under globalization. First, the diversified style of documentary aesthetics. Since the 1990s, the source of the photographic realism has shifted from the indexicality of the camera to the psychological trust brought by various photographic styles. The tendency of performance has shifted from shaping archetypes to presenting specific individuals, and aesthetic realism have developed diversified style features internally. Second, the ethnic involvement in the global context. Since the 1990s, ethnic characteristics have become more prominent in documentary-style films. Ethnic realities provide stories, ethnic personalities shape characters, ethnic traditions inspire narratives, and ethnic aesthetics influence audio-visual elements. Ethnicity allows documentary filmmakers to participate in global cultural exchanges in a unique way, and the global field makes documentary-style films with roots and soil shine. Third, the openness of aesthetic realism. Openness, as an essential feature of aesthetic realism, underwent significant changes in the post-Cold War period, becoming a kind of "open openness". On the one hand, documentary-style fictions add suspense, emotionalization, and humor to get closer to the audience; on the other hand, documentary-style fictions employ symbols, metaphors, and surreal elements to highlight the author. Fictions’ documentary aesthetics have formed a trend towards integration in the limited use of other genres‘ aesthetic elements. Fourth, global perspectives and globalization narratives. The world changes in the process of globalization not only provide documentary-style films with content themes and international cooperation methods, but more importantly, they give documentary-style films new global perspectives and a narrative approach that seeks common ground while preserving differences, oriented towards the world. However, in the global flow and exchange of documentary-style films, how regional aesthetic realism maintain local characteristics and avoid homogenized development is also a challenge to face.
