匠人是对各个行业各个领域各个工种中有特定技艺的人的统称。在纪录片中，匠人是得到较多刻画的群体，通过展示匠人们在生活、工作、学习等方面的多样面貌，重塑对这种特殊文化形象符号的认知，可以折射出当下的社会现状和所反映出的时代特征。

随着网络纪录片的兴起，涌现出丰富的纪录片样本，无论从经济发展的现实层面来看，还是从历史传承角度来看，关注匠人的文化身份，揭示匠人形象建构的策略与传播路径，不仅对传统手艺人和手工艺的生存、发展具有现实意义，而且也对纪录片所担负的对个体、社会之间的认同整合使命具有重要作用。

本文从叙事策略、情感策略、价值策略、传播逻辑等方面入手，引用叙事学理论、形象学理论、社会认同理论，对国内较为典型的展现“匠人形象”的网络纪录片进行对比分析。研究发现，第一，根据“双文化认同整合”理论，按照主人公对主流文化与地方文化、传统文化和现代文化的认同程度不同，可以将现有的“匠人形象”分为守门人、造梦人、迷失者、开创者四种类型。第二，从叙事学角度出发，本文认为目前网络纪录片中的“匠人形象”呈现出叙事主体地位重构、叙事视角更多元具体、叙事节奏更张弛有度等鲜明特征，通过在怀旧框架下的个体叙事引发群体共情，既体现出天人合一的人伦价值，也彰显出整合集体记忆的人际价值；第三，在网络传播过程中“匠人形象”不再是单一的静态文本，网民在观看纪录片的同时，也遵循着网络空间中意义再生产的规则，重塑“匠人形象”。因此在网络空间中流通的“匠人形象”更像是一种文本符号，它包含了社会各群体的想象、价值与利益，构成了包容的、具有和谐与张力的动态形象。

虽然网络纪录片对“匠人形象”的塑造和传播起到了一定程度的促进作用，但仍然存在许多问题，比如商业化运作不当对匠人形象造成的反噬；媒介形象与真实形象之间的失真；经过层层过滤的、温和的文本表达削弱了现实隐痛等都是值得反思之处。

The so-called craftsman is a general term for people who have specific skills in various industries, various fields and various kinds of work. In traditional documentaries, craftsman is a group that is often depicted. By showing the diverse features of artisans in life, work, study and other aspects, and reshaping the cognition of this special cultural image symbol, the current social status quo and the characteristics of The Times can be reflected.

With the rise of network documentary, a wealth of documentary samples have emerged. Great changes have taken place in the creation subject, film form, transmission path, content expression, image construction, cultural connotation and other aspects. , therefore, no matter from the reality of economic development level, or from the Angle of history, pay attention to the cultural identity of the builders, the image reveals the builders to construct and propagation path of the strategy, not only to the survival and development of traditional craftsmen and handicrafts have realistic significance, but also to the documentary is responsible for the recognition between the individual and social integration mission plays an important role.

Starting from narrative strategy, emotional strategy, communication logic and other aspects, this paper cites the theory of narratiology, imagology and social identity theory to make a comparative analysis of the typical domestic network documentaries showing the "image of the craftsman". It is found that, firstly, according to the theory of "integration of bicultural identity", the existing "craftsman image" can be divided into four types: gatekeeper, dreammaker, marginal man, and new craftsman according to the different acceptability of main characters to mainstream culture, local culture, traditional culture and modern culture. Second, from the perspective of narrativism, this paper holds that the "craftsman image" in the current network documentary shows the distinctive characteristics of modernity, such as diverse subjects, overlapping identities, emotional fault, and cultural separation. Thirdly, in the process of network communication, the "craftsman image" is no longer a single static text. While watching documentaries, netizens also follow the rules of meaning reproduction in cyberspace to reconstruct the "craftsman image". Therefore, the "craftsman image" circulating in cyberspace is more like a text symbol, which contains the imagination, values and interests of various social groups, and constitutes a harmonious and tension dynamic image of tolerance and conflict.

Although the network documentary has played a certain role in promoting the shaping and dissemination of the "craftsman image", there are still many problems, such as the distortion between the media image and the real image, and the relatively mild text expression through layers of filtering has weakened the contradictions and hidden pain of reality, which are worthy of reflection.