独立纪录片作为纪录电影的一个分支，是纪录电影中表达最为自由，手法最为多样，风格最为独特的一类。纪录片自诞生之初就有记载历史的重要功能，以新历史主义的角度切入，独立纪录片把大写的历史小写化，把单线叙述的历史复线化。它不再让纪录片单纯地关注国家兴亡、社会矛盾，而更多地把普通人转移到镜头前面，展现自己最日常的生活。吴文光作为中国独立纪录片之父，其创作、参与的纪录片拍摄无一不是在对自己、他人、群体进行个人记忆、集体记忆的纪录。集体记忆是构成历史的重要元素，本文通过分析吴文光在不同时期创作的心理动机、拍摄对象，从新历史主义的角度出发，结合新历史主义的观点来研究其纪录片中出现的集体记忆。

Independent documentary, as a branch of documentary film, is the freest expression, the most diverse means and the most unique style in documentary film. Documentary has an important function of recording history since its birth. Starting from the perspective of new historicism, independent documentaries reduce the capitalization of history and double-line the history of single-line narration. It no longer allows documentaries to focus solely on the rise and fall of the country and social contradictions, but more on ordinary people to shift to the front of the camera to show their most daily life. As the father of China's independent documentary, Wu Wenguang's creation and participation in documentary filming are all records of personal memory and collective memory of himself, others and groups. Collective memory is an important element of history. This paper studies the collective memory in Wu Wenguang's documentaries from the perspective of New Historicism by analyzing the psychological motivation and shooting objects of Wu Wenguang's creation in different periods.