Research On The Artistic Creation Of Xinjiang Humanistic Documentary "I Come From Xinjiang"

Xinjiang,the "Beautiful Pearl" on the Silk Road.Since Zhang Qian’s mission to the Western Regions,Xinjiang has become an important bridge between the Chinese nation and the world.The long-standing ethnic tribes and rich cultural heritage have created an extraordinary humanistic perspective.The emergence of this pattern of perspective has enabled the two typical and representative images of "Xinjiang" and "Xinjiang people" to continue to grow under the fate of the times,resulting in fission,and even a subversive leap.Therefore,on November 15,2018,the State Council officially promulgated the white paper "Cultural Protection and Development in Xinjiang".At the same time,the proposal of "Chinese Story,International Communication" also brought many innovations to the development of documentary creation.Xinjiang not only needs to enter the hearts of the public,but the public also needs to start a 360-degree re-deconstruction and recognition of the "Xinjiang"in the new era.Since ancient times,Xinjiang has been a place where ethnic minorities migrate and live together,and it is also a center of convergence of multiple civilizations.Therefore,under the advocacy of the "One Belt,One Road" initiative,Xinjiang’s ethnic cultural advantages have been demonstrated.Relying on the background of the above-mentioned development,this article uses communication,narratology,ethnology and other related theories to study the "I Came from Xinjiang" series,excavate the historical origin of the overall image of the characters,and explore the presentation perspective and The concrete expression of the image of Xinjiang people.Its content specifically includes the following aspects:First,clarify the artistic characteristics of documentaries and the unique connotation of humanistic documentaries,as well as the development process of Xinjiang humanistic documentaries.Then,starting from the core of documentary creation,explore the cultural identity,value discourse and three-dimensional image display of the "I’m From Xinjiang" series.While understanding creative ideas,he explored the relationship between cultural identity and national identity.Through the dissemination of documentary images,he helped the public understand Xinjiang and what effects it brought.Secondly,using the related theoretical research methods of narratology and cross-cultural communication,a systematic analysis of the ethnic cultural symbols and narrative strategies of the "I Came from Xinjiang" series is carried out.Starting from the innovative trend of documentary "IP" brand development,it analyzes the specific implementation method of the "IP" branding path of the"I come from Xinjiang" series,as well as the creative direction of future Xinjiang humanistic documentaries and other ethnic documentaries.What corresponding thinking and reference.Finally,this article takes the "I’m from Xinjiang" series of research as its source point to discuss the proper focus and future perspective of the "Xiangren image" in the context of the new era of discourse.While breaking the previous limited cognition of Xinjiang group portraits,the public needs to look at the three-dimensional "Xinjiang people" from a development perspective,increase the public’s deep-level cognition and precipitation of their cultural beliefs and ethnic totems,and let our documentary spread from Passive defense turned to active balance,allowing Xinjiang people to go out while also bringing China’s voice to the world.