“中非命运共同体”的多模态话语建构-以纪录片《重走坦赞铁路》为例

ZhangDelu,2009).Intheconstructionprocess,non-reinforcingrelationshipsaredominantinthedocumentary.Forexample,inscreenshot1,thenarration-“Thisisanendlesssongoffreedom.”isageneralassessmentoftherailway’simportanceandsymbolicmeaningforAfricanpeople,andthismeaningcanbeconveyedonlywhenthenarrationiscombinedwiththeimageoftheTazaraRailway.Moreover,thenarrationinscreenshot9(auditorymodality)reads,“ItbroughtengineerstoTanzaniaandhasnowbroughtmehere.”,whiletheimageshowsChinesevolunteersfromConfuciusInstituteandAfricanstudentswalkingontheTanzaniaRailway(visualmodality),forminganon-reinforcingrelationship.“It”referstotheTazaraRailway,whichiscomplementedbytheimageoftherailway,reflectingthattheTazaraRailwayisstillalivetoday.IthasbroughtconveniencetotheAfricanpeoplebybringingagroupofengineerstoAfricainthe1970s,andnowitisattractingagroupofyoungpeopletoAfricatocarryonthebatonofChina-Africaculturalexchange. Inaddition,screenshot2,screenshot3andscreenshot10allunveilareinforcingrelationshipbetweenvisualandauditorymodalities.Inscreenshot2,thenameplateofPeople’sRepublicofChinaonthetracksupportsthelanguage-basedauditorymodality.Thisreinforcingrelationship,attheleveloftheindividual,ismorelikelytoshowtheauthenticityofthedocumentary,andthusplaysapositiveandcrucialroleintheconstructionofthe“China-AfricaCommunitywithaSharedFuture”.Bycontrast,thereinforcingrelationshipinscreenshot3andscreenshot10isatthenationallevel,whichofficiallyaffirmsawin-winChina-Africacooperation. Intheprocessofconstructing“China-AfricaCommunitywithaSharedFuture”,thedocumentaryalsoincludescontextualinteraction,especiallythecleveruseofbackgroundmusicandscenes.Forexample,inScreenshot10,whenthefilmshowsthesuccessfulopeningoftheTazaraRailway,thebackgroundmusicalsoreachesaclimaxandbecomeslouder.Atthispoint,theauditorymodalityisnolongeranauxiliaryelement,butprovidesabundantcontextualinformationfortheexpressionofmeaning.Thus,togetherwiththeimages,itformsagrandnarrativethathighlightsthehardshipandgreatnessofChina-Africacooperationtowardsnationalself-reliance,andrealizestheconstructionof“China-AfricaCommunitywithaSharedFuture”.ChapterSixConclusionMajorFindingsandContributions Thestudyhasinterpretedthelinguisticcharacteristicsof“China-AfricaCommunitywithaSharedFuture”inthedocumentaryTazara:AJourneyWithoutAnEndandexploreditsconstructionprocessfromthecultural,contextual,content,andexpressivelevels.Thesignificantfindingsarepresentedbelow: Ingeneral,thedocumentaryintegratesvarioussemioticmodalsystemsandthoughtfullymakeschoicestoachievemultimodalcollaborationinconstructingthe“China-AfricaCommunitywithaSharedFuture”characterizedbypoliticalmutualtrust,economiccommonprosperity,culturalintegration,andsustainabledevelopment. Firstly,attheculturalandcontextuallevels,thedocumentaryemphasizessharedanti-colonialexperiencesandhistoricalcooperationasideologicalfoundations.ByrevisitingChina’s1970saidinconstructingtheTazaraRailway—aprojectpivotaltoAfricanliberationandChina’sUNreinstatement—thedocumentaryestablishesanarrativeofmutualsupport.Interviewswithhistoricalwitnesses,suchasTanzanianleaders’familiesandChinesecontributors,reinforcecredibilityandcontinuity,whilemoderncollaborationsundertheBeltandRoadInitiativehighlightongoingsolidarity. Secondly,atthecontentlevel,image-languagesynergyreinforcestheconstruction.Scenesdepictinglocallifealongtherailwayandinterviewsprioritizedirectstorytelling,whiledeclarativelanguageobjectivelystressesmutualbenefits.Intermsofcameratechniques,mid-rangelensesareappliedmostlyfrequently,fosteringegalitarianengagementbetweenparticipantsandaudiencesandmirroringtheequalitycentraltoChina-Africarelations. 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