商务传媒学院知识库

近年来美食纪录片热度高涨成为纪录片的一个重要组成类目，但是对于美食纪录片的研究比较局限，缺乏中外美食纪录片的对比研究。本文以中美两国美食纪录片为样本，对两国美食纪录片进行了叙事比较。

本文首先对两国美食纪录片的发展历史和发展现状进行了梳理，然后以《风味人间》第二季和《主厨的餐桌》第三季为例从叙事主题、叙述者视角、叙事结构、视听语言四个方面对于两国美食纪录片的叙事进行了对比。最后总结了两国美食纪录片差异性形成的原因，并分析了美国美食纪录片为中国美食纪录片发展带来的启示。

中国美食纪录片在叙事主题上偏向多元、通常以全知视角进行宏观叙事，其叙事模式呈现明显的模式化、视听语言华丽具有极致的美感；美国美食纪录片以一元叙事主题为主，通常以限知视角进行微观叙事，偏向线索推进的故事性表达，视听语言动人写实。两国美食纪录片的差异是由两国文化价值取向、饮食习惯、审美取向的不同造成的。通过对两国美食纪录片的对比，本文认为中国美食纪录片应该注重差异化发展、关注受众的审美转型、增强国际化视野并推进美食纪录片的商业化进程。

In recent years, the popularity of food documentaries has become an important category of documentaries. However, the research on food documentaries is limited, and there is a lack of comparative research between Chinese and foreign food documentaries. This paper takes the food documentaries of China and the United States as samples to make a narrative comparison between them.

This paper first combs the development history and current situation of the two countries' food documentaries, and then compares the narratives of the two countries' food documentaries from four aspects: narrative theme, narrator's perspective, narrative structure and audio-visual language, taking the second season of flavor world and the third season of chef's table as examples. Finally, it summarizes the reasons for the differences between the two countries' food documentaries, and analyzes the Enlightenment of American food documentaries for the development of Chinese food documentaries.

Chinese food documentaries tend to be pluralistic in narrative theme, and generally use omniscient perspective for macro narrative. Their narrative mode is obviously patterned, and the audio-visual language is gorgeous, which has the ultimate aesthetic feeling. American food documentaries mainly use unitary narrative theme, usually use limited perspective for micro narrative, and tend to promote the story expression of clues, so the audio-visual language is moving and realistic. The differences between the two countries are caused by their cultural value orientation, eating habits and aesthetic orientation. By comparing the two countries' food documentaries, this paper holds that Chinese food documentaries should pay attention to the development of differentiation, the aesthetic transformation of the audience, enhance the international vision and promote the commercialization process of food documentaries.