TV Documentary Presents Research On Xinjiang Intangible Cultural Heritage

Intangible cultural heritage is the "living fossil" of human civilization.XinJiang's intangible cultural heritage(abbreviated as "XinJiang's intangible cultural heritage")is a cultural treasure created by the people of all ethnic groups in XinJiang.Its preservation and inheritance are conducive to cultivating and enhancing the awareness of the Chinese nation's cultural community,and are conducive to promoting social stability and ethnic unity in XinJiang.However,it is not optimistic that with the progress of modernization and urbanization,the living space of XinJiang's intangible cultural heritage has gradually been squeezed,and some even have reached the verge of extinction.Taking this as a starting point,the author believes that TV documentaries,as a medium of communication,have the functions of recording,preservation,and dissemination of sound and images,it can meet the needs of XinJiang's intangible cultural heritage protection and dissemination.This article mainly focuses on the 23 TV documentaries broad casted by China Central Television or XinJiang TV on the content of XinJiang's first batch of national intangible cultural heritage,and is discussed in the following sections: Introduction,mainly expounding the research background significance,research status,research methods and application of core theories.The first chapter mainly discusses the history,advantages and functions of TV documentaries in XinJiang's intangible cultural heritage.It is believed that the presentation process mainly includes three stages: the initial stage of the introduction of natural and cultural landscapes,and the development of national culture changes after the reform and opening up.Stage and the prosperity of the intangible cultural heritage of XinJiang under the background of the "One Belt and One Road".The second chapter analyzes the content of the TV documentary of XinJiang's intangible cultural heritage.It mainly uses Stuart Hall's "encoding-decoding" theory.From the perspective of the coder,it sums up the code content of the XinJiang intangible cultural heritage television documentary.It is organized around four themes: coded representation of the theme of advocating solidarity,coded presentation of the theme of loving loved homes,coded presentation of the content of pursuing harmony,and encoding of the cultural content.Chapter three mainly encodes and decodes XinJiang Uyghur Muqam Art TV Documentary,trying to find out from the code content of the coder and the decoder's decoding position that XinJiang Uyghur Muqam Art can obtain domestic and foreign attention and TV documentary summarizes the experience of XinJiang Uyghur Muqam's art television documentary and provides examples and references for the dissemination of non-material cultural heritage in XinJiang.The fourth chapter mainly studies the transformation of the way in which TV documentary presents the intangible cultural heritage of XinJiang.It mainly achieves the triple transformation: from the main use of the "universal" to "diversity" continue to enrich the intangible presentation,from "shallow descriptive" to "deeply elaborating" to strive to construct "Culture Field" and insists on the writing strategy of people from "invisible" to "visible".The epilogue addresses the shortcomings in the presentation and inheritance of the intangible cultural heritage in XinJiang by TV documentaries,and further proposes corresponding countermeasures.