Research On Symbol Representation In Folk Documentary

China has a vast territory and numerous ethnic groups,resulting in diverse and colorful folk cultures.Folk culture is a culture created and inherited by the vast majority of people in a country and an ethnic group,which determines that folk culture must contain profound humanistic values.This profound humanistic value makes the theme of humanism care always shine through the folk activities presented in the folk documentary.In addition,the recording process of folk culture in the documentary is diverse and complex,making folk documentary highly entertaining and valuable for research.Folk phenomena are diverse and complex,including certain folk behaviors and related psychological activities in basic economic activities,corresponding superstructure,and the development of ideology.Therefore,the essence of researching the humanistic value in folk documentaries is to study the progress history of the ethnic group and the country.This paper focuses on the study of folk symbols in folk documentary films,based on Pierce’s semiotics theory,and selects three types of symbol studies: physical symbols,mental symbols,and behavioral symbols,as the core theoretical basis for the research.In addition,the study is closely integrated with the personal creative practice work "Jumping Nong",aiming to explore folk documentary films from the combination of semiotics and folk studies,and provide ideas for personal creation.The paper can be divided into four parts in general.The first part of the paper explains the research object and scope,focusing on Chinese folk documentary films and exploring how innovative visual presentation methods are used to highlight the distinctive features of folk culture in the creative process.The specific characteristics of the emergence,development and prosperity periods of Chinese folk documentary films are described.The second part analyzes the meaning of symbol construction in folk documentary films,examining the deeper meaning behind folk culture in both folk documentary films and the author’s own work.A macro perspective is used to explain the historical significance constructed behind folk culture and to see the cultural foundation on which an ethnic group relies for survival behind folk customs and activities.The third part discusses the intention and reference of symbols in folk documentary films,using the example of the Lintao Nuo culture to explore the three aspects of real object symbols,abstract mental symbols and ritual behavior symbols.The fourth part is an analysis of the director’s personal work "Jumping Nong",focusing on the shooting ideas,characteristics and innovative points,and describing the creative features and performance innovations of the work.