Research On The Construction Of Cultural Memory In Documentaries On Non-Heritage Themes

Intangible cultural heritage,as an important treasure of China’s traditional culture,carries the collective memory of the general public.With the support of relevant national policies and the popularisation of intangible heritage knowledge,more and more documentary creators are focusing their lenses on intangible cultural heritage,and documentaries have become an important carrier for the dissemination of intangible cultural heritage,with a number of successful film and television productions,such as Inheritance on the Fingertips and Amazing Craftsmen,emerging.This has also brought intangible cultural heritage into the public’s view with a new look.Documentary creators are trying to construct cultural memory in a creative way that meets the aesthetics of the new era,effectively realising the protection and dissemination of intangible cultural heritage,and at the same time providing a new way of thinking for the creation of documentaries on intangible cultural heritage topics.This paper takes a number of documentaries with typical characteristics on the subject of intangible heritage in recent years as the object of study,and explores its construction of cultural memory in the light of the creation practice of one’s graduation work "Deadwood in Spring".The first part is an overview of documentary films on non-heritage themes,including the concept,development history and the relationship between Cultural Memory and Non-Heritage Documentary Films;the second part is an analysis of the presentation of cultural memory in documentary films on non-heritage themes;the third part is the focus of the article,which examines the ways in which documentary films on non-heritage themes construct cultural memory through three aspects: narrative strategy,audiovisual language and media communication.In the second and third parts,the article combines theory and practice with a typical case study and a personal graduation project,"Deadwood in Spring".The fourth part analyses the difficulties in constructing cultural memory based on the current situation of the creation of documentaries on non-heritage themes and proposes ideas for optimisation.