随着社会媒介更迭及教育意识提升，短视频平台成为大众观看、分享和 获取家庭教育类信息的重要窗口。公共平台之上的叙事再组织使其在内容生 产上实现对家庭教育现状的再现与超越，但同时也带来了刻板化、娱乐化等 隐忧。对此，本研究借助叙事学分析框架，旨在从叙事内容、叙事话语和叙 事动作三个维度出发，解析其传播特征和潜在问题。
首先，家庭教育类短视频趋向于形成完备的内容生产闭环:事件呈现的 预期效果即情感共鸣与喜剧效应的抉择;在情节组织的动态过程中满足受众 的猎奇、甚至“看热闹”的心理;与儿童主体的交互间，成人表现出多样却 模式化的功能;环境更成为协助意义生产的空间底色。其次，话语组织与短 视频狭小的叙事空间息息相关，这就使得家庭教育行为的时空建构不得不被 迫精简，采用简明扼要的功能框架，并大规模使用效率最高的线性叙事模式。 最后，此类短视频其叙事者的目的一直是将叙事的接受者“缝合”在家庭教 育故事中，并且由于受到用户习惯和技术水平的限制，在视频的拍摄和剪辑 上呈现出叙事者介入的多元形态。
于是在叙事偏好背后，其精简的教育传播过程、叙事者和接受者互利共 赢、对传统想象的蓄意逆反是对家庭教育现实的超越，而小大人与教育回报 率、教育叙事过度媒介化则是现阶段传播过程的隐忧。

With the advancement of social media and the increase of educational awareness, short video platforms have become an essential window for the public to watch, share and obtain family education information. The reorganization of narratives on public platforms has enabled them to reproduce and transcend the current situation of family education in terms of content production, but at the same time, it has also brought hidden concerns such as stereotyping and entertainment. With the help of narrative analysis framework, this study aims to analyze its communication characteristics and potential problems from three dimensions: narrative content, narrative discourse and narrative action.
Firstly, family education short videos tend to form a complete closed loop of content production: the desired effect of the presentation of events is the choice between emotional resonance and comic effect; the audience's curiosity and even the psychology of "watching" are satisfied in the dynamic process of plot organisation; the interaction with the child subject, the adult shows various but patterned functions; the environment The environment becomes a spatial undercurrent that assists in the production of meaning.
Secondly, the organisation of the discourse is tied to the small narrative space 2

of the short videos, which forces the spatio-temporal construction of the act of family education to be streamlined, adopting a concise functional framework and using the most efficient linear narrative model on a large scale.
Finally, the narrator's aim in these short videos has always been to 'stitch' the recipient of the narrative into the homeschooling story, and due to user habits and technical limitations, the filming and editing of the video takes on multiple forms of narratorial intervention.
Thus, behind the narrative preference, its streamlined educational communication process, the mutual benefit of narrator and recipient, and the deliberate reversal of the traditional imaginary are the transcendence of the reality of home education, while the small adult and the return on education, and the over-mediatisation of educational narratives are the hidden concerns of the communication process at this stage.