National Image And The Modern Coronation Ceremony

Documentaries on minority subjects from 1949 to 1978 were discussed systematically in this paper, combined with the complex process of China's socialist practice and the specific context of video production.As a bunch of gorgeous flowers in the garden of Chinese documentaries, documentaries on minority subjects recorded the conditions of politics, economy, society and culture of minorities with simple and direct images, and represented the great achievements of the socialist revolution and construction in these regions. The status of minorities as the masters of Republic of China was presented by these documentaries through images. The minorities, together with others, share the equal rights and work for the socialist modernization of China.The historical environment and policies of the production of minority films were investigated in Chapter 1, to indicate the reasons and background of the emergence and rapid development of documentaries on minority subjects.The state-led characteristic of documentaries on minority subjects was analyzed in Chapter 2. Firstly, the brief development process of documentaries on minority subjects before liberation of China was introduced. Then this state-led characteristic was interpreted in the terms of the administrative departments, productive departments, the guidelines and policies, shooting teams, and funds. The conditions of movie projection and the circumstance of viewing in the early years of new China were described to investigate the possibility and universality of the transmission of the documentaries on minority subjects.The documentaries produced from 1949 to 1978 were divided into four periods: From Sidelights of Warfare to Imaginations of Great National Union (1949-1952), Go forward the Great Era and Record (1953-1957), Fabulous Sights on the Submit (1958-1965), the Trudge and Recovery Under the Cultural Muzzle (1966-1978). These movies corresponded to the national policies of the new government closely, presented the conditions of economy and society of minorities and propagated the ideologies. They educated the whole nation as well as promoted the mutual understanding and imaginations among Chinese peoples.The pattern of performance was analyzed in Chapter 7, and was regarded as a practice of interpreted record, for its superiority in expressing the main values and themes of these movies.Documentaries on minority subjects not only recorded the life of minorities but also reflected the conditions and transitions of the society in the same period. Inevitably, these documentaries showed strong symbols of the specific period with the influence of specific policies. However, these documentaries settled the keynote of this sort of movies to interpret the unique meaning of socialist culture-equality and represent the variety of minorities' life. These movies focus on the construction and production, the harmonious relationships among peoples and the destiny of minorities. These movies have recorded the continuous development and the simple, warm, kind-hearted people of the ethnic regions after 1949.These movies were permeated with exertion, optimism and courage. The ideology was presented with the exaltation of socialist values. Meanwhile, an exciting picture of the future of Chinese peoples was portrayed.As a unique practice of images on ethnic minorities, Chinese documentaries on minority subjects have contributed to the documentary film industry of the world.