想田和弘作为近年来最受国际关注的日本新生代纪录片导演，他根据自己多年以来的实践经验，提出“观察电影”的创作理念，至今他已经创作出多部纪录片长篇作品，表明了他对拍摄对象的强烈的好奇心与同理心。想田和弘给自己设定的“观察电影十诫”，Dogma95 式的电影拍摄清规戒律，通过“不做调研”“不写剧本”“自己扛摄像机”以及“自己出钱制作”之类的戒律，强调了独立、机动与即时性的重要性。而“凝视”理论作为电影研究中的重要部分，详其本源，拉康无疑是最主要最直接的诱因。它应用很多新的方法将影片放置于一个全新的环境中，我们从而可以深入探讨影片与“看”的关系。本文将着重研究想田和弘纪录片中主体与客体间有什么样的互动关系，以及想田和弘在人物、地域观察背后的更深层次的涵义，探寻想田和弘在创作方法上的独特理念以及他对纪录片的特殊贡献。

As a new generation of Japanese documentary director who has received the most international attention in recent years, he has put forward the creation concept of "observing the film" according to his many years of practical experience. So far, he has created many long documentary works, which shows his strong curiosity and empathy towards the shooting object. The "Ten Commandments of watching movies" and Dogma's 95th style rules of movie shooting set by Hiroshi Imada emphasize the importance of independence, mobility and immediacy through such commandments as "don't do research", "don't write script", "carry camera" and "pay for production". As an important part of film research, Lacan is undoubtedly the most direct inducement. It uses many new methods to place the film in a new environment, so that we can deeply explore the relationship between the film and "watching". This article will focus on the research of the interaction between the subject and the object in Kazuhiro Soda’s documentary, as well as the deeper meaning behind Kazuhiro Soda’s character and geographical observations, and explore Soda Kazuhiro’s unique ideas in creative methods and his opinions. A special contribution to the documentary.