The Ritual Presentation And Ritualized Communication Of Xinjiang Folklore Documentaries

This paper is based on Rosenbue’s ritual communication theory,and takes Xinjiang folklore documentaries as the object of study.It examines the use of "ritual" and its related concepts in documentaries and how Xinjiang folklore documentaries can communicate traditional folk culture and folklore ritual activities through the presentation and ritual communication of rituals.The first introductory chapter describes the background and significance of this paper,and the second part compares "ritual" and its related theories,and reviews the current status of research on ritualized communication,"ritual" and documentary film,and folklore documentary film.This section identifies the research questions and the framework of this paper,and uses literature research,interdisciplinary research,and case study methods to conduct the research and list the selected research subjects.The second chapter explores the functions of rituals and the value of ritualized communication,dividing the functions of existing rituals in documentaries into: communication and cohesion,transmission of traditional culture,narrative of historical memory,and performance and entertainment;exploring ritualized communication from a cultural perspective to realize the "reproduction" of traditional culture and cultural identity;and building social community and collective memory through ritualized communication.The third chapter examines the presentation of existing "rituals" in documentaries from four aspects: ritual subjects,ritual types,ritual scenes and ritual symbols.The rituals in the documentary are divided into four types: traditional rituals,ethnic festivals,rituals and festive performances;the ritual scenes in the documentary are studied in terms of natural scenes and indoor scenes;the ritual symbols are divided into natural symbols,costume symbols and religious symbols,among which natural symbols include Environmental symbols and animal symbols.The fourth chapter explores how Xinjiang’s folk culture is ritualized through the medium of documentary film in three aspects: ritualized representation and presentation,the communication space of media rituals,and the ritualization of audience participation.The first part is about the enhancement of ritual images by storytelling and camera language;the second part explores the ritualized communication space from both the broadcast and publicity of the documentary,which constructs a mimetic environment through the media and creates a common ritual space in the new media to realize ritualized communication;the third part is about the interaction of the documentary by gathering audiences in the ritual field and using interactive ritual In the third part,the documentary gathers audiences in the ritual field to generate interaction,using interactive ritual theory to analyze the ritual of audience participation.The fifth chapter is a further reflection on the presentation and expression of rituals in documentaries,and an analysis of how to grasp the relationship between ethnicity and commonality in documentaries on ethnic minorities,based on the context of "forging a sense of Chinese national community" in China,and how to present the unique ethnic culture of ethnic minorities while not neglecting the cultivation of a sense of Chinese national community.