作为一个外来引入的概念，“非物质文化遗产”进入中国语境的二十余年中逐渐形成了融合文化实践、政策实践与学术研究的新知识系统。在传统与现代、地方化与全球化的张力之下，非遗的当代传承及其所引申出的文化自觉与文化认同问题，更成为当代中国的时代关切。而中国的非遗影像，其参与主体之多、历史积淀之久以及高度的组织化与系统化，是非遗世界体系中绝无仅有的生动实践，为非遗的活态性传承提供了契机。与非遗影像丰富的历史实践相比，学术研究对非遗影像的认识尚未成熟，对其历史脉络的梳理也几乎为空白。因此，本研究以纪实类非遗影像为研究对象，结合话语分析、深度访谈与网络民族志的研究方法，在详细考察非遗影像的历史源流与当代实践的基础上，探讨非遗在影像化的过程中发生了怎样的意义变迁？同时，非遗影像的文化实践是如何参与到当代中国社会的文化再生产当中的？对于我们理解非遗产生了怎样的意义？本研究聚焦在非遗与非遗影像、非遗影像系统与社会系统两个层次的关系之上：一方面，将影像作为历史文本，沿着非遗影像发生过程中代表性的影像浪潮，探讨影像对非遗表征的建构与变迁；另一方面，将影像作为文化实践，基于政府、学者、媒体机构与文化持有者个体四大非遗影像生产场域，剖析不同场域内行动主体的权力关系与行动逻辑，探讨基于影像的非遗文化再生产何以展开。本研究既是以历史时间线演进为主轴的历时性研究，也是对核心实践主体与影像生产场域的共时性分析。研究发现，在从“前非遗时代”到“非遗时代”的历史衍变过程中，非遗影像形成了从他者书写延伸至自我表征的影像主体变迁、从文化标本延伸至日常生活的影像观念变迁、从技术物延伸至行动者的影像功能演进。同时，多场域共构的非遗影像系统建立起共识生产、知识生产、消费生产与再造生产四类差异化的生产方式，并通过多元场域的融合与共谋形成一股“新主流”非遗影像浪潮，推动了“文化边地”的再中心化。此外，通过对文化想象的构建、对社会关系与权力关系的重塑以及对社会情绪的情感动员，非遗影像在参与文化再生产的同时，也促进了文化与当代社会系统的互动与调试，并在一定程度上形成了对非遗的再建构，为文化传统的现代转化提供了有效机制。
As a concept introduced from abroad, "intangible cultural heritage" (ICH) has gradually formed a new knowledge system integrating cultural practice, policy practice and academic research in the Chinese context over the past two decades. In the tension between tradition and modernity, localization and globalization, the contemporary inheritance of intangible cultural heritage and the cultural consciousness and identity issues it raises have become a concern of contemporary China. The richness of China‘s intangible cultural heritage documentary, the long history of its participants, and its high degree of organization and systematization make it a unique and vivid practice in the world system of intangible cultural heritage, providing opportunities for the dynamic inheritance of intangible cultural heritage.Compared with the rich historical practices of intangible cultural heritage documentary, academic research on it is still immature, and its historical context is almost blank. Therefore, this study takes ICH documentary as the research object, and combines research methods of discourse analysis, in-depth interview, and network ethnography to explore the meaning changes that have occurred in the process of visualizing intangible cultural heritage. At the same time, how does the cultural practice of intangible cultural heritage documentary participate in the cultural reproduction of contemporary Chinese society? What is the significance of intangible cultural heritage for us to understand? This study focuses on the relationship between ICH and ICH documentary, as well as ICH documentary system and social system: on the one hand, taking documentary as a historical text, exploring the construction and changes of imagery representation of intangible cultural heritage along the representative documentary waves; on the other hand, taking documentary as cultural practice, based on the four documentary production fields of government, scholars, media institutions, and cultural holders, analyzing the power relations and action logic of different actors in different fields, and exploring how the cultural reproduction of intangible cultural heritage based on documentary is carried out. This study is both a diachronic study based on the historical timeline and a synchronic analysis of the core practice subjects and imagery production fields. It is found that in the process of changing from the "pre-ICH era" to the "ICH era", the image subject extends from other writing to self-representation, the image concept extends from cultural specimens to daily life, and the image function extends from technical objects to actors. At the same time, the intangible cultural heritage documentary system constructed by multiple fields has established four differentiated production modes of consensus production, knowledge production, consumption production, and reproduction production, and through the integration and collaboration of multiple fields, formed a "new mainstream" of intangible cultural heritage documentary, promoting the re-centralization of "cultural borderlands". In addition, through the construction of cultural imagination, the reshaping of social and power relations, and the emotional mobilization of social emotions, intangible cultural heritage documentary not only participates in the cultural reproduction of intangible cultural heritage but also promotes the interaction and adjustment between culture and contemporary social systems, and to a certain extent, forms a reconstruction of intangible cultural heritage, providing an effective mechanism for the modern transformation of cultural traditions.
