在纪录片生产（创作）过程中，与故事片镜头前虚构的故事不同，纪录片镜头前是硬碰硬的真实，它撷取的是一段鲜活的、不可彩排的生命历程。自从拍摄者闯入被拍摄者的世界，在被拍摄者面前架设起摄像机，一个问题就冒将出来，并且始终纠缠不清：如何处理拍摄者和被拍摄者的关系？　　　日本著名纪录片导演小川绅介曾经说过：“你拍摄对方的时候，实际上是在拍你和对方的关系。”在他看来，纪录片是拍摄者和被拍摄者共同创造的世界，真正的纪录片，捕捉的就是人与人之间这种变幻不定的关系，这构成了纪录片真正的乐趣、深度和魅力。　　　显然，两者之间，拍摄者起着主导的作用，但这并非意味着被拍摄者完全被动，双方的关系是互动的，是交互的，是主体间性的，有一个对话交流的过程。并且，丰富多彩且不可预知的生活塑造着被拍摄者，影响着影片的发展；也或隐或显地塑造着拍摄者，改变着拍摄者与被拍摄者的关系。而不同类型的纪录片，因拍摄方法的不同，对两者关系的处理也就有不同的要求，拍摄者与被拍摄者的关系也就变动不居。　　　回溯纪录片的缘起，叩问纪录片的定义，梳理纪录片的内涵与外延，从纪录片的概念、本质、属性等重要的命题出发，从可资借鉴的关系入手，论文爬梳纪录片拍摄中拍摄者与被拍摄者关系。通过回顾历史中具有代表性的纪录片类型，发掘拍摄者与被拍摄者拒绝、合作和博弈的各种可能性接触；考察在拍摄前后疏密相间深浅不一的交往，寻绎隐藏在文本之外或镶嵌在文本之中的交叉的目光；追逐叙事的余波与回响，归因影响关系的要素与力量；用伦理和道德来衡量，借法律与契约来裁决，论文比较全面地探讨了拍摄者与被拍摄者的关系，并在最后倡导：遵循互惠互利、公平公正的原则，努力创建一种合理、合情、合法的关系。　　　追寻既往的历史，反观当前的创作，预期明天的发展，每一个时代，每一位创作者都会遭遇拍摄者与被拍摄者的关系问题。只有理清并妥善处理两者的关系，跨越其间的鸿沟和障碍，单个的纪录片才能得以顺利诞生，这门记录时间和历史的行当才能得以绵延；而从事这项职业的的纪录片人，才能有所为有所不为，心安理得地从事自己热爱的艺术。

Unlike the feature film whose story is invented, the documentary film is shooting pure truth. It selects a span of life that is colorful and can not be rehearsed. The moment the filmmaker enters the world of the subjects and sets up the camera, one problem comes up and persists throughout the whole shooting process：how to handle the relationship between the filmmaker and the subjects? 　　　Kogawa Nobusuke, the famous Japanese documentary film director, said once, “when you are shooting documentary, you are actually shooting your relationship with the subjects. ” To him, documentary film is a world co-created by the filmmaker and the subjects. Documentary, in its true sense, is to capture this ever-changing relationship between people, which is exactly where its fun, depth and charm lies. 　　　Obviously, the filmmaker plays the dominating role in this relationship, but it doesn’t mean that the subject is completely passive. Actually, their relationship is interactive and inter-subjective. The colorful and unforeseeable life shaped the subjects, which affects the flow of the film, while the filmmaker is also shaped, either visibly or invisibly, which brings about changes in their relationship. Different documentary types have different shooting styles, hence, there are different requirements on the handling of this relationship. Therefore, it is always changing. 　　　On reviewing the development of documentary film, enquiring into its definition, the connotation and extension of its concept, the thesis explores the relationship between the filmmaker and the subjects with relevant relationship examples as reference. It sums up the elements and power that affects this relationship by making a retrospective study on the representative documentary types in history, digging out possible relationships between the filmmaker and subjects—non-cooperation, cooperation and game, exploring the communication between filmmaker and subjects before and after shooting, searching for the cross-perspective hidden outside the text or inlayed in the text and tracking down the repercussions of the film. The thesis, measured by moral principles and judged by law and contracts, approaches the relationship between the filmmaker and subject in a comprehensive way, and concludes by calling for a reasonable and legal relationship based on the principle of mutual benefit and fairness. 　　　Through looking back into yesterday and reflecting on today, we can anticipate the development of tomorrow. At every age, the relationship between filmmaker and subject inevitably poses a problem for each and every creator of documentary film. Only when we untangle and handle the relationship properly, bridge the gap and break down the barrier, can each film be produced smoothly, the industry continue to exist and develop, and people in this industry know certain things to do and refrain from doing other things, thus better committing themselves to this artistic form.