Research On The Creation And Narrative Strategy Of Documentary Films On Intangible Cultural Heritage

With the development of the times,intangible cultural heritage,mainly in the form of intergenerational transmission,is gradually disappearing from people’s daily vision.Especially as the inheritors of the previous generation who took production skills as the core aged,the cultural connotation and value persistence embodied in them have become disconnected.Therefore,it is urgent to strengthen the dissemination and protection of intangible cultural heritage,which is also the only way to enhance the cultural self-confidence of Chinese people.Based on this environmental situation,the author filmed and created the documentary "The Great Beauty of Intangible Cultural Heritage in Ink",which is a documentary about the national intangible cultural heritage-the production skills of Xiao Yan,which tells the love and inheritance of three generations of craftsmen from old,middle and young generations.This documentary is committed to presenting to the viewer the charm of the carving technology,the ingenuity of the carvers,and the dilemmas,development status and problems of the inkstone making technique in the current cultural environment,so as to promote the inheritance and promotion of the intangible culture of the inkstone making technique.Taking narratology as the theoretical support and the graduation work "The Great Beauty of Intangible Cultural Heritage in Ink" as the research object,this paper analyzes the narrative strategy of the documentary from four aspects: narrative structure,narrative perspective,narrative rhythm and narrative language,focusing on the creation methods of intangible cultural heritage documentaries.At the level of narrative structure,the film adopts a combination of section structure and linear structure,which highlights the theme of "intangible cultural heritage" inheritance,and linear structure clarifies the context of story development and effectively interprets the respective functional characteristics of the two sections.In terms of narrative perspective,the film adopts the transformation of multiple narrative perspectives,using multiple perspectives to enrich the audience’s visual experience,which is embodied in the specific and detailed background of cultural heritage content from an omniscient perspective,the documentary and standardized process and emotions from an external perspective,and the amplification of the psychological details and task quality of the inheritor from an internal perspective.In terms of narrative rhythm,this film mainly completes the regulation of narrative rhythm and the layout of audiovisual paragraphs through editing,corresponding to the picture and sound effects,so that the transitions between narrative content are easy and bright.In terms of narrative language,this film integrates two types of audiovisual symbols,lens language and sound language,the lens language presents the characteristics of fixed lens to enhance the authenticity of the record,close-up to enhance the production technique,aerial shot to add visual aesthetic experience,empty shot to mediate the rhythm of the picture,and the sound language reflects the characteristics of narration to assist the narrative,background music to deepen the theme,and simultaneous sound rendering of real beauty.The core of the filming of "Intangible Cultural Heritage in Ink" is to record the natural state and authenticity of cultural heritage,pay attention to promoting and disseminating the excellent traditional culture of the Chinese nation,and reflect the rich spiritual and cultural connotation of "intangible cultural heritage".