当前，我国历史题材纪录片的表达方式不断丰富。越来越多的创作者从多元角度展开对历史的想象。然而，从问题意识出发，大量的想象性表达无疑对纪录片“真实性”原则构成了挑战。“历史想象”在纪录片中的存在是否具有合理性与必要性？充满想象元素的纪录片还能否被视为是对历史的表达？本文以历史题材纪录片为研究对象，以西方史学思想中“历史想象”相关理论为主要学理支撑，展开对于历史题材纪录片中的“历史想象”边界研究。
      正文共分为五个部分。首先第一章对历史题材纪录片的发展历程及创作动力进行整体概述，对“历史想象”在历史题材纪录片中的存在现实作出理论分析，并对历史题材纪录片中的“历史想象”应用演进作出详细梳理，指出当前的历史题材纪录片在创作中存在着“想象边界”外延的倾向。
      基于此结论，论文第二章着重分析当前历史题材纪录片中的“想象边界”外延路径，并站在历史文本、历史角色、历史场景的三重维度做出详细阐述。在夸张化对白与抒情性旁白表达下，作品以平民话语解构历史的宏大；在沉浸式情景演绎与反身式间离效果下，作品以再现扮演弱化历史的权威；在逐渐走向“造伪”的场景设计下，作品尝试着打破历史叙述的逻辑，完成作品对于历史的“想象”。
      论文第三章探讨历史题材纪录片中“历史想象”边界外延的积极意义，其不仅丰富着视听呈现、缝合着叙事裂隙、建构起“文化想象”的主体思维，同时帮助观众完成个人想象空间的延展、实现观众与历史的“对话”、促进着大众的历史文化认同与历史跨文化交流。而论文第四章从问题意识出发，在“真实本质与想象之间的矛盾”与“历史事实与想象之间的偏差”双重矛盾下，审视历史题材纪录片中想象过度所带来的潜在危机。作品对历史的想象限度问题亟需引起重视。
      论文第五章对历史题材纪录片中的“历史想象”表达提出见解，创作者应审慎把握艺术自由与历史真实之间的平衡，观众需不断提升辨识历史真实与想象元素的审美能力，共同推动历史题材纪录片达成商业成功与历史责任之间的协调与共生。

    At present, the expression of China's historical documentaries is constantly enriched. More and more creators are imagining history from multiple perspectives. However, from the point of view of the problem, a large number of imaginative expressions undoubtedly challenge the principle of "authenticity" in documentaries. Is the existence of "historical imagination" in documentaries reasonable and necessary? Can documentaries full of imaginative elements still be regarded as expressions of history? This paper takes historical documentaries as the research object, takes the theory of "historical imagination" in western historiography as the main theoretical support, and starts the research on the boundary of "historical imagination" in historical documentaries.
    The text is divided into five parts. The first chapter gives an overall overview of the development history and creative power of historical documentaries, analyzes the theory of the existence of "historical imagination" in historical documentaries, and analyzes in detail the evolution of "historical imagination" in historical documentaries, pointing out that current historical documentaries are not only about historical imagination, but also about the evolution of "historical imagination" in historical documentaries, and that the current historical documentaries are not only about historical imagination, but also about historical imagination. It also makes a detailed analysis of the evolution of the application of "historical imagination" in historical documentaries, pointing out that there exists a tendency of the extension of "imaginary boundary" in the creation of the current historical documentaries.
    Based on this conclusion, the second chapter of the thesis focuses on analyzing the path of the extension of "imaginary boundary" in current historical documentaries, and makes a detailed elaboration on the three dimensions of historical text, historical characters and historical scenes. With exaggerated dialogues and lyrical voice-over expressions, the work deconstructs the grandeur of history with common people's discourse; with immersive scenario interpretation and reflexive dissociative effects, the work weakens the authority of history with reenactment; and with the scene design that is gradually heading towards "falsification", the work tries to break the logic of historical narration to complete the "imagining" of history in the work. The work tries to break the logic of historical narration and complete the work's "imagination" of history.
    The third chapter of the thesis discusses the positive significance of the extension of the boundary of "historical imagination" in historical documentaries, which not only enriches the audio-visual presentation, sews up the fissures in the narrative, and constructs the subjective thinking of "cultural imagination", but also helps the audience to complete the extension of their personal imagination space, realize the "imagination" between the audience and history, and realize the "imagination" between the audience and history. It not only enriches the audiovisual presentation, sews up the narrative gap, and constructs the subjective thinking of "cultural imagination", but also helps the audience to extend their personal imagination space, to realize the "dialogue" between the audience and history, and to promote the public's historical and cultural identity as well as cross-cultural communication. Chapter 4 of the thesis starts from the problematic consciousness, and examines the potential crisis of excessive imagination in historical documentaries under the double contradiction of "the contradiction between the real nature and the imagination" and "the deviation between the historical facts and the imagination". The problem of the limit of imagination of history in the works needs to be paid attention to urgently.
    Chapter 5 of the dissertation provides insights into the expression of "historical imagination" in historical documentaries, in which creators should carefully grasp the balance between artistic freedom and historical truth, and viewers need to constantly improve their aesthetic ability to recognize historical truth and imaginative elements, so that together they can promote historical documentaries to achieve the coordination and symbiosis between commercial success and historical responsibility.