【摘要】 在全媒体时代的应用场景下，电影、观众及两者间的关系出现了一些“衍化”。从电影创作看，表现为题材、内容、类型以及形式建构的萎缩，思想、情感、灵感的消减，个性风格特色的削弱；从电影观众看，则表现为观赏需求日趋分化、“Z世代”开始移情别恋、中老年观众愈发远离。而要消除这些“洐化”,需要电影创作和电影观众共同做出剧烈并持久的努力。对于前者而言心中不能没有观众，但切忌迁就和迎合；对于后者而言，消费迭代势在必行，需提防信息茧房。通过双向奔赴的交通和切实有效的调适，重新建立起密切而友好、互惠而互利的关系。更多还原

【Abstract】 Documentary is the image participation of the national narrative, which has the essential attribute of non-fiction, and has always played an active role in shaping the national image. China’s poverty alleviation documentaries echo the development of the times, grasp the pulse of history, and focus on real life. In terms of content, focus on the arduous efforts and great achievements made by the government and people in the process of poverty alleviation;In the form of exploring new narrative perspectives and narrative methods, documentary images are used to present the Chinese story, Chinese wisdom and Chinese power of the international poverty reduction cause to the world in the integration of grand narrative and individual care, omniscient perspective and rational observation, international vision and the discourse of the times, and create a true, objective and three-dimensional national image of China in the new era. In terms of a comprehensive and accurate grasp of the connotation of national image in the new era,innovative narrative methods to create an understanding dialogue, and integration of forces to jointly shape the national image, it can provide some useful inspiration and thinking for the current Chinese documentary to shape the national image abroad.更多还原