由于移动通信技术和智能硬件的发展，手机成为人们日常生活中的重要工具，而其中搭载的虚拟软件也承担着人们对参与线上社交的需要。在这个以视觉符号为主的时代，短视频凭借着图像内容的展示成为虚拟空间中记录生活、表达自我的重要媒介，抖音及其海外版TikTok这两个短视频平台的蓬勃发展，也成为深受国内外用户喜爱的社交媒体平台。

伴随着全球化程度的日益加深，草根群体成为全球空间中的重要力量，开始通过短视频平台积极参与到全球化的传播实践之中。近年来，中国对非洲的帮扶合作不断增多，中国的草根群体得以根据企业招募劳工的需要出海非洲，开展个人与非洲相遇的跨文化叙事；与此同时，非洲当地的网络通信建设不断发展，手机这一价格相对低廉的智能设备也走入非洲人的生活之中。在这一背景下，在非华人和非洲人都可以凭借一部手机记录自己在非洲大陆上的所见所闻、所思所想，并上传到短视频平台中，与国内外的用户互动，成为全球话语表达空间的一份子，参与到全球化背景下的跨文化叙事和交流之中。

本研究关注到在非华人与非洲人这两类不同主体，在拍摄同一主题的非洲生活类视频时，二者会展开怎样的非洲叙事，在其中又表达着怎样的种族观念。当在非华人与非洲人共同生活在同一片大陆之上，他们的非洲叙事又有何种不同，是会延续以往有关非洲的刻板印象，还是会在这种新的实践中开展不一样的叙事表达？本研究从对比视角出发，采取定量的内容分析法和定性的文本分析法，结合叙事学、他者与自我的相关理论，探究在非华人与非洲人在以非洲生活为主题的短视频中分别采取的非洲叙事方式。

研究发现，在非华人发布的短视频主要以非洲日常生活和人文介绍为主题，记录自己在非洲工作生活、与非洲人交流的视频内容，多采用纪实型叙事，主要展示非洲与中国之间的差异，以及中国对非洲的援助，表达了以平等态度为主的情感；而非洲人发布的短视频多是以段子和日常生活为主题，在短视频中积极的表现自我，展示个人的外表身材和精神面貌，多采用社交美化和幽默讽刺叙事，主要以自我表征和表达非洲为主，表达了对抗非洲既有刻板印象的态度。

这一发现有助于补充有关非洲形象的研究视角，分析在国内的短视频平台中，中国人与非洲人在展示非洲形象方面所采取的叙事方式，发现中非创作者在非洲种族叙事中的特点，为中国对非洲的报道展示和非洲人如何自我言说提供了参考思路。

Due to the development of mobile communication technology and smart hardware, cellphones have become an important tool in people's daily life, and the virtual software carried in them also bears the need for people to participate in online social interaction. In this era of visual symbols, short videos have become an important medium for recording life and expressing oneself in virtual space by virtue of the display of image content. The booming development of two short video platforms, Jiyin and its overseas version TikTok, has also become a popular social media platform for domestic and international users.

Along with the increasing globalization, grassroots groups have become an important force in the global space and started to actively participate in the communication practice of globalization through short-video platforms. In recent years, China's cooperation in helping Africa has been increasing, and Chinese grassroots groups have been able to travel to Africa according to the needs of enterprises recruiting laborers and developing cross-cultural narratives of personal encounters with Africa; at the same time, the local network communication construction in Africa has been developing, and cellphones, a relatively inexpensive smart device, has entered the lives of Africans. In this context, both Chinese and Africans in Africa can use a cellphone to record what they see, hear and think on the African continent, upload it to short video platforms, interact with domestic and foreign users in the video, become part of the globalized discourse expression space, and participate in the cross-cultural narrative and communication in the context of globalization.

This study focuses on what kind of African narratives are developed by two different types of subjects, Chinese in Africa and Africans, when they make videos about African life with the same theme, and what kind of racial concepts are expressed in them. When African Chinese and Africans live together on the same continent, how do their African narratives differ, do they continue the stereotypes of Africa or do they develop different narratives in this new practice? From a comparative perspective, this study adopts a quantitative content analysis and a qualitative textual analysis, combining theories related to narratology, otherness and self, to explore the African narratives adopted by African Chinese and Africans respectively in short videos themed on African life.

It is found that the short videos released by Chinese in Africa are mainly themed on daily life and humanities introduction in Africa, recording their own video contents of working and living in Africa and communicating with Africans, mostly using documentary-type narratives, mainly showing the differences between Africa and China, as well as China's assistance to Africa, expressing the emotion of mainly equal attitude; while the short videos released by Africans are mostly themed on segments and daily life. In the short videos, they actively express themselves, show their personal physical and mental appearance, mostly adopt community beautification and humorous and ironic narratives, mainly focus on self-representation and expression of Africa, and express emotions against African stereotypes.

This finding helps to complement research perspectives on the image of Africa, analyze the narrative approaches adopted by Chinese and Africans in presenting the image of Africa in domestic short video platforms, discover the characteristics of Chinese and African creators in the cross-cultural racial narrative of Africa, and provide reference ideas for the presentation of Chinese coverage of Africa and how Africans speak for themselves.