The Ideographical Practices Of The 21st Rural Images

Since the beginning of the 21 st century,rapid globalization,marketization,urbanization and mediatization have emerged in China,the Chinese nation has undergone changes unprecedented in thousands of years.These changes have also accelerated the modernization of China’s rural society.The rural modernization transformation in the 21 st century mentioned here is a broad concept,which refers to the great process of the development of tradition to modern times.Therefore,the current rural changes with medialization,informatization and consumerization also belong to the process of modernization transformation.The peasant has changed,uprooted from the land and flowed widely between cities and villages seeking development.The rural culture has also changed from the stable and closed local culture living on land to the fluid and open post-rural Culture making a living in diversity.In the reality of the comprehensive modernization transformation of Chinese society,the rural images since the 21 st century have also been developing and changing.There are inheritance of the traditional rural images,but also innovative development.This development is a performance of literature and art in the complex tension of “urban and rural china” emotional structure,national ideology shaping,consumption culture,media technology,etc.In general,the rural images since the 21 st century are the narratives of the social transformation and development problems encountered in the rural society under the process of modernity practice and mediatization practice,which juxtaposed together of tradition and modernity.This contextual logic is embodied in the structure and content of the article,which constitute the three characteristics of rural images since the 21 st century(Chapters 3 to 5),which are also the main content of this article.The first is juxtaposition(Chapter3).Since the 21 st century,rural images have presented a variety of texts and forms of expression.These works shape characters from multidimensional perspectives such as village/city,tradition/modernity,locality/globalization,past/future.These works give a powerful expression of people in the changing times,the meaning of human existence,and the complex state of human nature.These diverse narratives form a dialogue with each other and with society and culture,this intertextuality and narrative tension construct the unique value of rural images in the 21 st century.The paper divides them into three categories: realism,consumption,and romanticism.The realism mode is mainly to analyze the bottom-level narration which has changed from "unpopular narratives" to "popular narratives",the narration contains the multi-dimensional juxtaposition of rural/post-rural,reality/magic,modern/post-modern installations.The consumption mode is mainly to divide the "San Nong" clips into two types: life documentary short videos and pastoral short videos,and analyze the form of consumption is more important than narration,and it’s a constructive media practice to social reality.The romantic mode mainly analyze the rural images inherit the pure style from a nostalgic perspective,which develop nostalgic strategies to deal with modernity.The second characteristic is cultural identity(Chapter4).Images are inherently intertextual and inherently historical texts.From those rural images in the 21 st century,we can obtain the knowledge of modern rural culture.Villages and peasants,these two elements contain the foundation of the cultural identity of the Chinese nation.Study the modern villages and modern peasants in the images,we will be able to see the deep-rooted cultural changes of the Chinese nation to some extent.This chapter uses the real record of popular documentaries and festival images as the text to gain insight into the aspects of culture that are deeply described in rural images.To some extent,the peasant spirit,peasant culture,and peasant development in these documentaries are a representation of the Chinese spirit,Chinese culture,and Chinese development.In other words,there is a deep-rooted relationship between localism and cultural awareness and cultural self-confidence.To a certain extent,the rural documentary can also be used as the fourth mode after the three modes in Chapter Three-the naturalistic mode.The third characteristic is the practice of media materiality(Chapter5).The rural images are not only representational practice related to texts and forms,but also a variety of media materiality practices.Since the 21 st century,the development and popularization of media technology have been forming a high degree of conformity with the new development of rural images.This chapter horizontally analyzes the material representation practice of three image media: film,television and short video.Rural film projections have changed from political rituals and interactive rituals that shape the rural environment and farmers to symbolic meanings.As a national cultural project,rural themed TV works play a real and unconscious domestication function by embedding TV into family life.The development and popularization of the new media technology of the mobile Internet has provided the material foundation for peasant’s media actions.The short videos of "San Nong" fully reflect the constructiveness and influence of the materiality of the media on the villages and peasant’s lives.These media material practices have played an important role in cultivating and shaping the modernization of villages and peasants.If the first two characteristics mainly focus on how meaning is represented through texts and forms,then the third characteristic is concerned with the materiality of the media in which meaning is conveyed,it means that as infrastructure and intermediaries,film/television/the Internet are integrated with the physical and mental aspects of peasant groups,and the "nurturing" effect of this integration on social culture.The media analysis from film,TV to short video also emphasizes a process of historical change,it means that the post-rural social and cultural changes associated with the material changes of the media.It should be pointed out that,we think that the textuality of literary and artistic works and the media materiality are inseparable and mutually interactive processes.The above analysis is to break the binary opposition about form/material or constructivism/realism,which are traditional literature and art research methods.We adopt a comprehensive method.It is not a single analysis of text or media technology,but an examination of its association with social systems and cultural contexts.The changing practice of rural image representation is an important reflection of the transformation of Chinese social modernization.Rural images are not only a cultural,social and economic forms,but also a political and psychological forms.Through the extensive,multi-faceted and complex writings of rural images since the 21 st century,we can see China today,and the modern villages and peasants.At last,the paper clarifies the social and cultural governance function of rural images since the 21 st century,and clarifies how rural art and cultural resources participate in the governance of Chinese rural society and become a constructive force for rural revitalization.In addition to some suggestions for top-down elite rural image writing,more importantly,the research proposes to build a bottom-up participatory culture and use image making to inspire farmers’ subjectivity.When the topdown rural image and the bottom-up peasant’s media practice are all participating in the construction of rural culture,when the macro construction of rural strategy and as a natural facts deep trace in post-rural culture are getting together,then there will a image path that inspires the rural modernization development.And also this will provides a daily glue between tradition and modernity,city and countryside,country and individual.