Research On "Nostalgic Memory" In Countryside-themed Documentaries(2012-2019)

Since the ancient times,"homesickness" has flowed in the blood of Chinese people.Whether it is the homesickness of "leaving home at young age and returning when old,unchanged local accent but with grey hair ",the "national sorrow" transferred from "homesickness" under the "integration of family and country",or the root-seeking of cultural identity under the modernization process,"homesickness" is an eternal theme of "mobile society",expressing people's memory of "hometown" and becoming a collective unconsciousness.In this age of all-encompassing media,literary and artistic works have undoubtedly become an excellent connection between creators and audiences,and have also become an important means to convey this collective unconsciousness.Therefore,the rural documentaries,which give consideration to both strong social functions and high artistic values,carry and inherit "homesickness memory".In recent years,especially since the 18 th National Congress of the Communist Party of China,from the perspective of external context,the rise of documentary industry and the introduction of policies have both contributed a lot to the development of documentaries.From the perspective of internal context,the implementation of national policies such as "rural revitalization" and "precise poverty alleviation" has prompted a large number of works that show rural construction and contain homesickness to flourish,and their quality has also been greatly improved.Therefore,this paper takes the rural documentaries after 2012 as the research object,and focuses on the "homesickness memory" in the works,which not only heals the homesickness of modern people,but also conforms to the needs of the development of the times and highlights the consciousness of the isomorphism of family and country.This thesis mainly discusses from the following levels.The first part is the basic part,which indicates the research object and logical framework of the thesis.First,it starts with the definition of countryside-themed documentaries and the theoretical introduction of "nostalgic memory ",determining the research object and category.Next,the social context of rural development and the times connotation of nostalgic culture will be explained to establish therelationship between the documentary and "nostalgic memory" to clarify the typicality and rationality of this type of documentary for the construction of "nostalgic memory".The second part is the core of discussion which focuses on the construction of "nostalgic memory" in the documentaries,including the stabilization and maintenance of "nostalgic memory" under the influence of the origin of civilization,and the continuation and inheritance of "nostalgic memory" by order of rite and law as well as the activation and enhancement of "nostalgic memory" in patriotism.The third part discusses the significance of development and reflection of the "nostalgic memory" in the documentaries,which mainly explained from the following three aspects: firstly,"nostalgic memory" builds a cultural bridge between the traditional and the modern.Secondly,the "nostalgic memory" game which caused by technology and consumption.Thirdly,how to better tell Chinese stories under global cultural convergence.In part four,at the end of the thesis,a comprehensive summary are made and a reasonable prospect are offered as well,which mainly analyses the ways in which "nostalgic memories" constructed by countryside-themed documentaries in our country can adapt to conform to the trend of the times in the new era so that "nostalgic memories" bursting with vitality can be passed down from generation to generation and shine on the international stage.