| Intangible cultural heritage,as the cultural memory that condenses the most precious spiritual wealth of the Chinese nation,is a concrete manifestation of the cohesion and influence of the Chinese nation.In the era of visual communication,intangible cultural heritage documentaries have become an effective way to protect and inherit intangible cultural heritage,and have a place in documentaries.However,a difficult problem in the creation process of intangible cultural heritage documentary is how to present the cultural memory contained in intangible cultural heritage,that is,what cultural memory content to present and how to present cultural memory.The article is mainly divided into five parts.The introduction mainly introduces the cultural memory theory of Jan Assmann and Aleida Assmann,as well as the literature review,research program and research characteristics of documentaries on intangible cultural heritage;The next chapter mainly discusses how the intangible cultural heritage documentary,as the image carrier of cultural memory,achieves mutual success and win-win with cultural memory from the theoretical perspective;The second chapter,on the basis of the intangible cultural heritage documentary as the image carrier of cultural memory,enters the intangible cultural heritage documentary from the micro perspective.According to the media classification of cultural memory by Aleida Assmann,it analyzes the "second media" that can activate cultural memory in the intangible cultural heritage documentary from the location,sound,body,text and image respectively;The third chapter,after introducing the content of activating cultural memory in intangible cultural heritage documentaries,is mainly based on the way of image construction of documentaries,that is,according to what principles to arrange the content of cultural memory,and set three narrative strategies:cohesive structure,narrative framework of daily life and intertextuality of audio-visual texts to analyze the image construction of intangible cultural heritage documentaries;The fourth chapter focuses on the significance of the intangible cultural heritage documentary after the construction of cultural memory-the problem of identity.The continuation of cultural memory is the process of constantly strengthening identity,and the audience also promotes cultural identity while strengthening identity;The fifth chapter mainly introduces the summary and reflection of the graduation work "Qi Tai Yangge" in the creative process,hoping to bring readers practical thinking from the creative process of "Qi Tai Yangge".Through the above research on the construction of cultural memory of intangible cultural heritage documentaries,we hope to show the visual picture of cultural memory in intangible cultural heritage documentaries and provide a practical path of reference value for the practice of cultural memory in mass media. |
