Writing The History Of Images

As a unique form of images, documentary carries force and pain assigned by the era: On the one hand, it is parasitic on the society and closely related to the development of society; the other hand, it records the history, writing social change.This paper explores the relationship between documentary as a symbol of ideological and aesthetic experience and China’s cultural and politics. Large documentary contains behind the transformation of the mode of discourse, trying to image the way of writing history in the modern chain. As an important part of the "Culture Fever" in1980s, the translation of domestic foreign film theory and the diversity of the movement in art provide a creative source for television documentary.Chapter1is not only ready for the whole narrative of this thesis, but also a summary of the entire logic. This chapter explains the object of study, the main clues and research methods.Chapter2is mainly about the institutional and theoretical preparation for documentary.I’d like to illustrate the dominant influence of the state ideology on the television documentary:how the desire for expression of the collective cultural memory, the socialist heritage of delivery and a "delayed modernity" is able to show the documentary in the1980s.Chapter3will focus on television---the expansion of mass media to analysis how the medium base of documentary broadcasting can contributed to its development. In the TV era the popularity of TV series and TV created a relatively strong audience base in1980s. The scenery class documentary takes the audience through television media conducted a months-long screen Travel is an important way to the formation of the subjectivity of the Chinese nation.This chapter foucs on the significance of the collusion of politics and aesthetics in TV documentary.Chapter4is mianly about the documentary creator. I’d like to find the intertextual relationship between the age of the documentary creators and their lives.Firstly, this chapter will analysis "Dead Song" to find two levels of changes:On the one hand. the intellectual’s intervention to documentaryis an important image of the intellectual communities practice in1980s; the other hand, from the early1980s until the mid-1980s, why the subjectivity of the imagined community formed by the narrative of the documentary collapse. Secondly, across the end of the1980s and early1990s on behalf of the young directors imaging practical results another documentary Tiananmen" how to achieve the aesthetic turn is another focus of concern in this chapter.Chapter5, as the ending of the thesis, set the entire frame in the context of the rise of independent documentary and the broadcasting of documentary in1990s. The rise of "New Documentary Movement" and the television documentary is a direct result of the narrative mode change of television documentary. When the image of the mainstream media narrative is no longer the shaping of subjectivity as the focus, records of the civilian sectors will undoubtedly become popular image and this era’s most valuable video memory.