Documentaries and China's National Image

Cover
Half Title
Series Page
Title Page
Copyright Page
Contents
Figures
Tables
Introduction: The Dissemination of National Image and the Function of Documentary Films
I Research Background
II Problems in Theory and Practice
1 The connotation of the "National Image" is oversimplified
2 There is still too much "bonsai-style" presentation in current documentaries
3 The shaping of the "national image" is excessive dependent on "technology aesthetics"
III The Basic Position and the Main Content of the Research
1 The straightening-out of the historical context: documentary development and the presentation of the national image in different times
2 The discussion of the theories: the impact of various documentary theories on the shaping of national image
3 Paths to practice: learn from foreign experience and go out of our own way
IV Research Approach and Method
1 The theoretical orientation of the research
2 The research method
3 The research objectives
Notes
1. From "Illustrated China" to "Diverse China"
I Visualized Political Commentary: A Nation that Stands Up
II The Horn of Rejuvenation: A Declaration of Modernization
III Life Scene: Ordinary People's "Essence of Vigor, Energy and Spirit"
IV Diversification and Integration: China's National Image from the Perspective of Globalization
1 Three directions in the development of the domestic documentary in the 21st century
2 China's national image integrated into the world
3 A comprehensive understanding of the "non-marketization" and "quasi-marketization" production modes
Notes
2. The Nation-State in Documentaries
I The Discourse Transition from "Revolution" to "Modernization"
II Realism and the Call for the Nation-State
III The Intertext of "Mainstream Images" and "Folk Images (Non-Governmental Images)"
1 Two memories of the disaster
2 The blending of different discourse frames
3 The making of the state discourse and the value of non-governmental images
4 Tolerance towards Film and TV works
IV The Tension Between "Grand Narratives" and "Micro Records"
1 Creating subtleties to reach the acme of perfection: the micro documentary and its new style
2 Using subtle words of great significance: the intertextuality between "little narrative" and "grand narrative"
3 Making the audience know which way the wind blows - to win the recognition of netizens by authenticity
V The Principal Parts of Documentary Production from a Political-Economical Perspective
Notes
3. Social Changes in Documentaries
I The Gradual Development of the Social Texture
II Succession of Social Documentary Programs
1 Inheritance of program columns: from personnel to spirit
2 The progress of "social" consciousness: from the subject matter to the theme
3 "Space search" in the system
III Re-exploration of Space for Life and Documentary
1 What is the source of the success of Space for Life?
2 What's the outcome of the 25 years of Documentary?
3 What is a real "Documentary"?
IV Industrial Interaction and Opportunities
Notes
4. "Cultivating People Morally and Intellectually" in the Documentary
I Activation and Reconstruction of "Nostalgia"
1 The cultural meaning and levels of "homesickness"
2 Ways of activating "nostalgic memory" by documentary
3 Emotional structure in homesickness documentary
II Family and Country Identity in Nostalgic Images
1 Identity construction from home to country
2 "Nostalgia" culture and the maintenance of mainstream core values
1 Modernization of traditional culture
2 Words of heroes and sages
3 Return home and rebuild the countryside
3 Reinforced and obscured
III Spring Festival in Chinese and Foreign Documentaries
1 Returning home: spectacular migration vs family ties
2 New Year's Eve dinner: exotic experience vs family reunion
3 Food: materialization vs imagery
4 Hometown skills: amazing performance vs self-breakthrough
IV Cross Cultural Exchanges of Chinese Folk Customs
1 Dialectical treatment of "cultural discount" of folk customs in international communication
2 Fully consider the "intersubjectivity" between transmission and reception
3 Enhancing the "soft power" of the Chinese folk documentary
1 Find a balance between modernity and tradition, reasoning and narration
2 Reduce anxiety in Sino-foreign cooperation and realize cross-cultural exchanges in various fields
3 We should explore professional and non-governmental forces and give continuous institutional arrangements
Notes
5. The Succession of Documentary Aesthetics
I Evolution of the theme and style of the "Classic Documentary"
1 On the concurrence of aesthetic schools of the "documentary"
2 Topic selection sources of mainstream documentaries
3 Gradually enrich the image language and the narrative perspective
II The Birth of "New Documentary Programs"
1 "Endless Loop" promotes the return of realism
2 Contents relating to "history, reality and people"
3 Only when you walk steadily can you reach far
III Media Convergence, "Pan-documentary" and its coding strategy
1 "Pan-documentary" images are the products of the media convergence era
2 The blurred boundary, the unchanging sense of reality and the "wall-breaking" effect
3 The coding strategy of dealing with "hardcore topics" by using "pan-documentaries"
IV Behind the Aesthetic Pedigree
1 Broadcasting time and broadcasting platform
2 Communication effect and evaluation mechanism
3 Multiple factors of promoting documentary aesthetic change
Notes
6. Typical Cases in China and Abroad
I How US Documentaries Manufacture Consent
1 The US history in the documentary: the connection of grand and small
2 The scene representation: sewing history and shades
1 Performance representation: the scene under the premise of history
2 Computer stunt representation: "big film" of documentary
3 Oral representation: experts have added credibility
3 The construction of national identity: meaningful images and the "American Dream"
II Japanese Image in NHK Documentaries
1 Shaping the image of Japan in various stages after the World War II
2 Nationalism in the "post-war" subject documentaries since the 1990s
III China and Foreign Cooperation and Internationalization of China's Image
1 Anthropological vision and international operation: A Year in Tibet
2 There are only the shooting resources, and more need to eliminate prejudice: the story behind Wild China
3 The global narrative resources are used by me: taking China: Time of Xi as an example
IV Symbolic Context Strategy in "Olympic Bid Films"
1 Video text close reading
Part 1: Open and import (00 minutes 00 seconds - 00 minutes 14 seconds, see Figure 6.1)
Part 2: The masses of the ice and snow sports (00 minutes 15 seconds - 00 minutes 26 seconds, see Figure 6.2)
Part 3: A review of the 2008 Summer Olympics (00 minutes 27 seconds - 34 seconds, see Figure 6.3)
Part 4: The Geographic Environment and the Site Description (00 minutes 35 seconds - 02 minutes 30 seconds, see Figure 6.4)
Part 5: The Winter Olympic Games are reviewed and the full film ends (02 minutes and 31 seconds - 02 minutes 54 seconds, see Figure 6.5)
2 The selection strategy of symbols and context
V "The Oriental Internet Celebrity" and aesthetics of labor
1 The aesthetics of labor in individualized documentaries
2 Why do international netizens think highly of Li Ziqi's videos? - An analysis of comments based on "Grounded Theory"
1 Open coding
2 Associative coding
3 Core coding
3 Another way for Chinese images to go international
Notes
7. Conclusion: Thinking and Practicing against the Background of Media Convergence
I The Communication Ecology of Documentaries Is Not Optimistic
1 The capacity of professional documentary channels is insufficient, and the "marginalization" of documentary columns or programs has not been completely improved
2 There is a clear preference for documentaries on video websites and mobile apps
3 The dissemination mode of "online micro-communication + offline screening" deserves attention
II Analysis on the Concept of Documentary Development in the Era of Media Convergence
III To Improve the "Top Design" of the Documentary Communication Pattern
1 To construct a service-type documentary full media propagation matrix
2 Development of in-stock documentary resources
3 To improve the mechanism of documentary topic selection, evaluation and transaction
4 To open a diversified space of documentary dialogue and communication
IV To Lead the Shaping of "Multi-dimensional Image" with "Cultural Self-confidence"
V Construction of "Three Abilities" in the External Communication of Chinese Documentaries
1 To study the essence of Western documentaries and enhance cross-cultural narrative ability
2 To cooperate with "public diplomacy", "intergrated communication" and enhance image production capacity
3 To adopt internet thinking patterns and enhance the international communication efficiency
Notes
Postscript
Bibliography
Index