本文的研究对象是中国大陆独立纪录片，它出现于上世纪90年代初，此后十几年内呈现出持续向前发展趋势。DV诞生之后，被广泛应用于纪录片的实际拍摄中，DV的加盟促使中国独立纪录片迅速走向自身的兴盛时期，这个时期独立纪录片无论数量上还是质量上都呈现出蓬勃发展的态势。但是繁荣的背后独立纪录片无论是在题材选择、拍摄手法、传播渠道都陷入痛并快乐着的境地。 DV的成本优势和易操作的技术优势，不仅降低了影像创作的资金和专业门槛限制，使得普通民众能够者真正进入纪录片的创作领域，同时DV的介入导致艺术观念的变革，使得独立纪录片的“独立”精神得到强化，创作空间得到拓展，一定程度上消解官方构建的历史宏大叙事。 DV语境下中国独立纪录片的繁荣首先体现在创作题材上的多元化倾向：弱势群体、社会底层仍然是独立创作者取材的首选；同时社会学、文化学、“私纪录片”等题材的作品也频频显现，实验性的作品也时有发生。但题材宏观上的多元化趋势之下，在数量上占据主导地位的仍然是边缘化题材。 大众化、个人化的DV语境同时还带来独立纪录片视听语言的多元化。DV体积小巧的优势直接导致独立纪录片视听语言产生相应的变革，摄影机摆脱体积限制后变得灵活机动，实现多种拍摄的可能。但是反叛原有纪录语言的同时，DV由于技术限制的客观原因、创作精英的缺乏等主观原因使得当下的独立纪录片创作尚且没有能力去自觉有意识的建构自身的语言体系。 DV语境下中国独立纪录片的传播途径同样呈现多元化的趋势：将影片送往国际电影节参加展映和评奖活动是其最主要的海外传播方式；在本土传播途径方面主要有各种民间社团组织的展映活动、电视台内栏目化播放方式、通过网络传播等多种渠道组成。但是能参加国际电影节并且以奖项的方式得到肯定的纪录片少之又少，同样能在电视台播出的幸运儿也为数不多，同时进入大众传播渠道独立纪录片必须面对其个人化、民间化的与大众传播产品类型化、复制化的天然矛盾，依附主流媒体的同时独立纪录片的创造性、个性化等必须受到挑战。

The object of this paper is independent documentary in mainland of China. It appeared in early 90s last century and later gradually developed. Since it’s birth, DV have been widely used in the shooting of documentary. It helps Chinese documentary reach its climax. During this period, independent documentary has prospered both in quantity and quality. However, behind the bright side of such prosperity, independent documentary has stuck in the dilemma. It suffers a lot on subjects, methods and propaganda. DV cost little and is easy to handle. These advantages lower the funds for film making and make it not so highly professional. The producers get closer to the normal life of normal people, thus brings in the change of art conception. The independent essence of independent documentary is strengthened. While the space for creation expands, the officially established narration which is magnificent and historic is somewhat weakened. The prosperity brought by DV shows its multiplicational tendency on subjects. While the minority and low class are still the focus, sociology, culture and personal documentaries are not rare to be seen, and experimental works appears sometimes. But under the multiplicational tendency on subjects, marginal subjects are still dominant in terms of quantity. Populizational and personal DV brings in multiple seeing and hearing languages for independent documentary. The advantage of DV’s smallness and lightness directly lead in the innovation of independent documentary. After having escaped the restriction of its huge size, camera becomes able to realize all kinds of shooting. However, while betraying the original documenting way, because of technological restriction and the lack of creative elites, independent documentary is not yet able to establish its own language system now. Because of DV, the way of propaganda of Chinese independent documentary also shows the tendency of multiplication. Taking part in international movie festivals or showing activities are the main methods for oversea propaganda. As for the propaganda in China, the main ways are taking part in showing activities organized by local community, broadcasting through TV and internet. The existence of independent documentary must rely on mass media, on the meanwhile, the features of personalization and popularity of independent documentary are not compatible with the typological and duplicatable features of popular products. This makes the creative spirit and personalizational tendency of independent documentary face to face with great difficulty.