Rural Revitalization In The Context Of Non-traditional Documentary Pidu Shu Embroidery Brother

Shu embroidery,as an excellent traditional culture,carries Chinese civilization and intangible cultural heritage from history,the road of perseverance and inheritance is a long way to go.As a memory tool for social change,documentary film is a mirror to witness the changes of the country and society.In modern society,this form of documentary is not an independently developed artistic presentation,but an integrated form of expression.The function of documentary film is not only to "record" but also to "remember".In the past,there was no special respect for folk craftsmen in the past dynasties,and the singers of epic poems and storytellers were mostly left unnamed and unnoticed by history.Who is behind the creation and transmission of these exquisite memories,and how do the people of Shu embroidery create their own peach blossom garden? In today’s information wave,Shu embroidery is among the heritage across time and space,but the documentary on non-heritage is also facing the problem of homogenization and uneven quality.Shu embroidery culture is as big as it is broadcasted by TV stations around the world,and as small as it is around us.Focusing on the expression of the documentary,light on didacticism and heavy on care,the documentary records the non-heritage Shu embroidery and remembers the non-hereditary bearers of Shu embroidery.In terms of the overall structure,this paper is divided into four parts.In the introductory part,it introduces the meaning and purpose of the documentary selection,combines the current development status of China’s intangible culture,collates the current theoretical research results through various research methods,and elaborates the value and significance of the documentary on Shu embroidery’s intangible heritage.The second part tells the structure of the graduation work filming from the viewer’s perspective.Through the study of the documentary works on intangible heritage,the relevant theories of audiovisual language are applied to analyze the filming camera language,narration,music,and the design of scenes,etc.Combining with the documentary filming practice,the experience is summarized and the shortcomings are reflected.The third part is the overall planning of the documentary,the most important is the implementation of the shooting plan and the pre-determination of the interview outline,how to present the main idea of the documentary through the construction of the plot and dramatic narration,as well as the film’s split-screen script,if the narration is the soul of the documentary,then the shooting script is the bones of the documentary.In the fourth part,we will compile relevant reference documents and excellent films,combine theory and practice,summarize experience,and provide inspiration and direction for future creation.