A Study On The Narrative Strategy Of Non Cultural Heritage Documentary Film’s Flattening

The arrival of the new media era has brought a broader stage for audiovisual art,bringing it into a new stage of development,while also proposing different creative standards from the past.During this period,whether it is movies,TV dramas,or documentaries,they are actively seeking creative methods that best fit the communication of new media.Significant changes have taken place in terms of themes,content,and narration,in order to adapt to the convenient,rapid,and wide-ranging communication characteristics of new media and strive for a wider audience.Intangible cultural heritage documentaries are also exploring the path to fly into the homes of ordinary people.Unlike high-octane food documentaries,the subject matter of intangible cultural heritage seems too far from daily life,so in order to gain audience recognition,it is necessary to make corresponding adjustments in narrative strategies.In recent years,documentary films on intangible cultural heritage such as "I Repair Cultural Relics in the Palace Museum" have broken away from the relatively simple narrative mode of previous documentary films on intangible cultural heritage with novel narrative perspectives and innovative expressions,winning the favor of the audience and providing a reference for the creation of future documentary films on intangible cultural heritage.Based on the creative practice of his graduation work "The Carpenter Yang and His Apprentices",the author explores the narrative strategy of de flattening documentary films on intangible cultural heritage themes.This article consists of five parts.The first part is an introduction,which mainly includes research background,research significance,research status,and research methods.The second part mainly introduces the prosperity of intangible cultural heritage documentary creation in the new context from three perspectives: communication content,communication form,and communication channels.The third part analyzes the existing problems of current intangible cultural heritage documentary films from multiple perspectives.The fourth part explains how the graduation work "Yang Carpenter" attempts to use various methods to flatten the narrative in practice.The fifth part is about the problems encountered in practical creation and creative reflection.The author hopes that the shortcomings in the narrative level of intangible cultural heritage documentaries summarized in this article,combined with the experience and lessons of creative practice,can provide some reference for the future creation of intangible cultural heritage themed documentaries.