The Construction Of Xinjiang Cultural Landscape In The Narrative Of Mainstream TV Dramas In The New Century

TV media deeply embodies the dual structure of "social construction in the field of vision" and "visual construction in the field of society".The TV presentation of the northwest border area of our country,also contains the bidirectional construction and the interaction between society and media.Xinjiang is an important security barrier in Northwest China.It is a bridgehead opening to the west for the construction of "one belt and one road",at the same time,it faces ideological threat of certain extent.So it is playing an important role in the national political,economic and cultural strategy.As an integrated picture of external form and internal temperament and the perception and evaluation of the region by the internal and external public,the image of Xinjiang is also directly related to the stability and development of the border area,and related to national security and national image.Therefore,the image of Xinjiang has become a more and more urgent topic in front of us.For the presentation of Xinjiang image,the mainstream TV media undoubtedly has an absolute advantage and wide influence,and the important carrier of TV media-TV series,as a popular art that can shake the position of novels and films,has a typical popularity.Therefore,this study chooses Xinjiang TV series in the mainstream media since the new century as the research object,finds the cultural landscape of Xinjiang from its narrative,enriches and improves the research of frontier image and related TV series,and puts forward optimization suggestions.Teleplay is a kind of story telling art in essence,and narrative is its core art form,which is called "the first narrative art”in contemporary China.Therefore,the research will first explore from the perspective of narrative.The narrative of TV plays outlines a widely-spread "map" of Xinjiang,which deeply buries the specific impression of Xinjiang into people's deep consciousness through the narrative theme,narrative strategy,narrative style,etc.the research starts with the theme focus,motif extraction and narrative style of the narrative,and looks at what stories Xinjiang theme TV plays on the mainstream media have told and the common topic and psychological structure of human beings involved in the stories,and what kind of tone,angle and style are used to tell these stories.These rules of writing directly determine the keynote and characteristics of landscape production.The rules of writing and the style of narration must be understood in a larger social environment and political field.Power produces discourse,which brings legitimacy to power.The rules of discourse are determined by the power behind it and the purpose of discourse.Therefore,from the perspective of discourse-power,we will construct different levels and deep significance of "Xinjiang in the play".Finally,some suggestions on how to optimize the landscape in the future are put forward.The Dissertation consists of the following parts:The first part is the introduction,which describes the origin of the topic,comments on the existing research and summarizes the theoretical and practical significance of this study,and introduces the research object,research ideas and methods.The second part is a detailed analysis of the narrative theme,starting from the"picture frame" given to the audience by the play to reveal the outline and framework of"Xinjiang image in TV play".The narrative themes of mainstream Xinjiang theme TV series mainly include the arduous "construction narrative","revolution narrative" of newborn and liberation,"ancient narrative" of the regression and fusion,"military narrative" of the iron blood and faith,"urban narrative" of the youth and emotion and"martial arts narrative" of the swordsman and legendary.The third part analyzes the narrative strategy and intention of the play from the perspective of narrative motif.With the classical literary motifs of "suffering and salvation","growth and pursuit","home and return","heterogeneity and integration",TV plays cleverly point the narrative to the themes of liberation,construction,identity and harmony that the mainstream ideology needs to transmit to the audience.These themes are also the core structure of Xinjiang cultural landscape.The fourth part discusses the narrative style.The specific style,tone and aesthetic color also play a key role in the construction of Xinjiang image construction.These plays show a strong ideological nature and the main theme color,join some market-oriented techniques,in the realism narrative,adhere to the epic style in aesthetics,while showing regional spectacle.Then the "color" of Xinjiang's cultural landscape is established.The fifth part "decodes" Xinjiang cultural landscape from the perspective of discourse-power.It mainly includes bitter land-new territory(the "frontier" change in the dual perspective of politics and economy),spiritual Holy Land(the "red" frontier in the perspective of heroism and idealism),great harmony(the common humanity and human emotion of multiple integration,inseparable from each other),poetic paradise(Utopia space-time and ideal home),wild and exotic territory(the land of wonders and the alert from the edge).These landscapes are interwoven with the games and interweaving of different cultural discourses.In the sixth part,aiming at the limitation and shortage of Xinjiang cultural landscape in current mainstream TV plays,the dissertation puts forward some strategies such as the balance of discourse,the consideration of time,the coordination of space,the unity of diversity and integration,and the promotion of communication techniques,aiming to improve the creative level of Xinjiang TV plays,create a more three-dimensional and comprehensive image of Xinjiang,and make the "red" political culture,"Green" ecological culture,"golden" history and art,"yellow" nostalgic culture in Xinjiang culture be fully utilized.At the same time,science and technology culture,fashion culture and life culture etc.are introduced to depict the colorful and advancing cultural landscape of Xinjiang,so as to achieve the political,economic and cultural demands of the country and society,the center and the edge.The mainstream TV plays have a duty bound mission in promoting the security,harmony and development of the border areas.Only by understanding the image of Xinjiang constructed by the current TV plays in a three-dimensional way,we can determine a more accurate direction for the future creation and practice,and make the TV plays become a more powerful and effective force to help the border management and development.