Researching On China's Documentary Development Prospect From The Angle Of Audience

With the rapid development of media industry, the media products extent to our daily life gradually. In foreign countries, the documentaries are so popular because "they touch people's feelings by the truth and conquer the audience by the depth." However, our domestic documentaries have been in unsatisfied situation as the old saying "as disappointing as Emperor Liu Shan" due to the crux of the mass absence of "abstention vote" chosen by the audience. The stereotyped old-fashioned, and preachy masks impressed by China's documentaries have lead the audience to be "absent", and made themselves into dilemma.How do China's documentaries break through the problem? The key to the problem does not only discuss the creation idea of the documentaries, the documentaries should be put under the mass media context from the angle of the crux. The angle of "audience" becomes the best foothold for studying current conditions and the future development. The study makes the theoretical discussion by the combination of theory and practice, the uniform of logic and history and the multidimensional perspective applied by multi-disciplinary theories and principles.The article makes the creation of redefining the concept of documentary:on one hand, studying audience of China's documentaries was created with their development, that is, the development history is the invisible audience history. On the other hand, the development should correspond to the times, and break through the old-fashioned ideology-art-mass media concept which is apparently three-dimensional but actually very plane, and build new three-dimensional concept with the combination of business and art, society and ideology, and globalization and nationality. Firstly, the development of documentary theory and creation are combed comprehensively and carefully from the diachronic and synchronic angles separately. Secondly, focusing on the analyses of the audience, the references of the creation from the angle of audience idea are stated from the audience's origins, needs and effects of acceptance. Thirdly, the essence of China's documentaries are studied by being put into the multiple coordinate. They are interpreted form different dimensions including business, art, audience, society, ideology, globalization, then their developing courses in China are combed historically. Finally, the documentaries are bridging the theory and practice, therefore their theoretical and practical problems should be treated by the historically developing perspective, should be made the positions of propagators and audience clear with calm criticism, should be expected to the a developing way with "critical inheritance" supported by warmth. All of them are aiming to make the China's documentaries have the own position on the international stage.