Foreign Images In Chinese Documentary Films

At the end of the 13 th century,Italian Mark Polo began his 17-year exotic life in China.After returning home,he dictated the book "Travels of Mark Polo" edited by Rustiqian,and constructed the image of China in the West in the form of words.With the implementation of the reform and opening-up policy in the 1970 s,documentary creators began to introduce the development of the world to audiences through lens while recording the development process of our country."In 1980,the material filmed in Canada by the production team directed by Zhuangwei was compiled into two films,Canadian Chronicle and Canadian Experience",which should be the earliest chinese documentary filmed with foreign subjects after the reform and opening up.After entering the new century,under the joint action of many factors,such as the needs of the nation,the development of documentary itself and the needs of documentary creators,this kind of documentary has become a creative phenomenon that can not be ignored.However,in the face of the increasing demand for cultural consumption,the fact that peace and development have become the theme of the times and the challenges faced by cultural exchanges between China and foreign countries,their creation is facing new challenges and new contexts.Based on the theories of narratology,communication,reception aesthetics and national image,this paper uses case analysis and text analysis to study the dimensions of shaping foreign image in chinese documentaries in multiple contexts,the strategies ofbuilding foreign image,the deep mechanism of building foreign image and the challenges faced by the construction of foreign image.The first part mainly studies chinese documentaries with foreign themes in the context of cultural consumption.The author believes that most of the documentaries in this context are commercialized packaging of foreign images.The creative motivation is to satisfy the psychological expectations of the audience.By means of various construction strategies such as symbolization of geographical landscapes and defamiliarization of image expression,the creator focuses on shaping the natural image of foreign countries.While effectively compensating for the absence of the "other" in people's real life,the text also contains the creator's re-understanding of the commercial function of the national image,the recognition and reflection of the "self" as well as the transmission of our national ideology and other internal mechanisms.Under the guidance of audience-oriented creation,these documentaries have many shortcomings,such as distortion of reality caused by masking,conflict between cultural pluralism and historical evolutionism,and so on.The second part mainly studies chinese documentaries with foreign themes in the context of peace and development.The author believes that the documentary in this context is not to meet the audience's cultural consumption needs,but to emphasize the audience's recognition of the ideas conveyed by the works,so these works have a certain propaganda color,emphasizing the intention of the creative subject.Whether it is to clear up the historical problems of World War II or to shape the economic,national and cultural image of the defeated countries in World War II,we can not avoid the political system of foreign countries.Therefore,the context of peace and development focuses on foreign image from the political dimension.Macroscopically speaking,the creator is standing on the humanitarian stand,based on the height of not forgetting the past and focusing on the future,and basing on the nation and focusing on human beings,torturing the war-sponsoring countries from the historical and realistic dimensions.In the process of Constructing Foreign images by means of various strategies such as comparativeframework and time frame,the Creator not only impresses the Chinese people with history,but also promotes the peace and development of the world by bridging the traumatic memory between China and Japan.Of course,in the face of the long history and the reality of the creator's subjective understanding of historical issues,the text should pay more attention to the presentation of facts,emotions and rational grasp.The third part mainly studies chinese documentaries with foreign subjects in the context of cultural exchange.In my opinion,the documentary in this context emphasizes mutual understanding in the process of coexistence between China and foreign countries,and the audience and the creative subject are in the same position.The filming of these documentaries should not only let us appreciate the customs and historical traditions of foreign countries,but also,more importantly,understand foreigners.Therefore,the context of cultural exchange takes foreign nationals as the main body of shaping.In the process of portraying foreign images with the strategies of civilian perspective and individualized narrative,the creators,on the one hand,aim to publicize our national strategy and restore our national image,on the other hand,to promote Sino-foreign exchanges and build a community of human destiny.However,sometimes the writers' enthusiasm for improving the dilemma of cultural exchange between China and foreign countries is too urgent.However,many problems often arise in the works,such as the lack of cultural equality and the lack of image texture.In a word,the creation of foreign image in chinese documentaries is not a copy of foreign image in reality,but a reflection of China's own situation,China's strategic positioning and the relationship between China and other countries.