Presenting Xinjiang-Liu Xiangchen' Documentary Research From Visual Anthropology Perspective

In the current documentary world,Liu Xiangchen's documentaries have become the most representative image symbol in the province of Xinjiang.He continuing to focus on Xinjiang for 22 years,his thoughts on the relationships of people itself,people and nature,people and culture into the 13 outstanding documentaries,which aroused wide acclaim at home and abroad.Facing this increasingly homogeneous and entertaining era,he took the heavy task of spreading human culture with the image "shout",took care of the marginal groups,displayed the human existence condition,recorded and explained the human multi-culture,all of which made his documentary a model of the Visual Anthropology'study.From this perspective of representing characteristic Xinjiang,this paper makes use of the theory of Visual Anthropology to interpret the documentaries of Liu Xiangchen,to explore the ways of its anthropological documentary,and trying to enrich the analysis research of the existing works.The content of this article is divided into six chapters,the main contents are as follows.The first chapter is the introduction,based on the present situation of excessive entertainment and the development and function of documentary,this paper expounds the author's research on anthropology documentary.Explaining the value of this study from three aspects: the human culture including in anthropology documentary,Liu Xiangchen'directing skills and the aesthetic cultivation of documentary audiences.Analyzing the research actuality and insufficiency on Visual Anthropology,Xinjiang' documentary and the director of Liu Xiangchen.Sketching the research methods and possible innovation points of this paper.The second chapter,based on the regional features of Xinjiang,to introduce the analysis of Liu Xiangchen.First,the visual anthropology's basic concepts and theory are briefly expounded.secondly,the author clarifies that Xinjiang's rich creative resources are the foothold of Liu Xiangchen' creation,and that Xinjiang documentary film began to seek the change from amorous expression in the late 90 's,have a great influence on LiuXiangchen's creative thought.Thirdly,briefly introducing Liu'personal information and combing its documentary Creation course,this paper puts forward that the documentary "Great Riverside" clearly divides Liu' anthropological film creation into development period and mature stage,and analyzes the main features of his works in different periods.The third chapter mainly explains the fieldwork characteristics of Liu' anthropology film: the study of Xinjiang itself and native culture in Xinjiang is a clear field theme of Liu Xiangchen' work,he comprehensive use of direct observation,participation in observation,interview,oral history and other methods to continuously understand and explain the culture of Xinjiang,and he skillfully handle the director's field emotions wandering in "subjective" and "objective".The fourth chapter explains Liu's overall view of the visual anthropology,he pays attention to Xinjiang's nature environment roundly and puts forward a new perspective of vertical Xinjiang,using the perspective of humanistic care to dig out the characters 'emotion,embrace the pluralistic values and respects the shooting objects,and grasping the interpretation of Xinjiang's unique religious and material culture,to show the humanistic features of Xinjiang from multivariant horizons.The fifth chapter mainly analyses the Xinjiang image of Liu Xiangchen in the two dimensions of "truth" and "art".He presents the inner reality of Xinjiang minority nations through the record of typical cultural form and the transition rites,and reveals the influence of external modernity on its traditional form.Besides,as far as the film skills are concerned,he narrates by the real logic of life and montage,and enriches documentary content by using sound effect and subtitle language.The sixth chapter mainly summarizes Liu Xiangchen's "Get and Lose" in the anthropology film: this paper analyzes the positive significance of the Xinjiang anthropology documentary from the perspective of national cultural understanding,record-keeping and communication,and at the same time,combined with some problems appearing in the documentary practice of Liu Xiangchen,and the current research situation of the Visual Anthropology,It is suggested that anthropology film can make some useful attempts in artistry,marketing and participation.Xinjiang's unique advantages in cultural agglomeration of Chinese and Western,making the documentary based on it is more like a mirror of human cultural reference and introspection.Liu Xiangchen's documentaries are rooted in Xinjiang Humanities and geography,comprehensively utilizing visual anthropology'method and theory,recording and explaining the human culture objectively and truly,which has the important reference and the referential significance to the documentary film creation as well as the human culture research.