随着中国社会的文明演进，残障群体在公众视野内逐渐被“看见”。残障题材纪录片是大众了解残障群体的窗口，对促进我国残障文化事业的发展有重要意义。本文基于视觉修辞理论，选取十年间中国纪录片网和央视网收录的24部残障题材纪录片进行案例研究，借助多模态话语分析的方法对其视觉修辞实践进行探究，旨在剖析残障题材纪录片如何通过视觉修辞来完成视觉劝服。文章主要分为以下几个部分。

第一章关注我国残障题材纪录片视觉修辞实践的构成要素，在对残障题材纪录片进行概念界定并我国发展概况的梳理后，从修辞对象、修辞目标和修辞方法三个要素上分析其视觉修辞实践。修辞对象可以归纳为残疾人群体、残障者亲友和机构负责人三类。修辞目标集中在展现残障生活的真实困境、传达残障人士的心理诉求和塑造残障群体的正面形象三个方面。修辞方法包含描述残障事件过程的时间修辞、见证助残事迹发生的空间修辞和刻画人物情感羁绊的关系修辞。

第二章聚焦于残障题材纪录片视觉修辞的各个语境层次，具体从互文语境、情景语境和文化语境三种基本的语境形态上对残障题材纪录片的视觉修辞实践过程进行剖析。在互文语境层，包含源于伴随关系的构成性互文、处于并置结构的联想性互文和于联想认知的隐喻性互文；在情景语境层，需要探析主张人文关怀的话语情景、紧扣助残命题的议题情景和承载残障故事的空间情景；而在文化语境层，则发现了强调集体意识的社会系统影响着意识形态对残健共融的倡导，因而会选择采用真实记录的表现体裁来予以呈现。

第三章开始深入到残障题材纪录片视觉劝服话语之中，以视觉语法为理论基础，借助多模态话语分析的框架来探索其意义生成。研究发现，在再现意义上，残障题材纪录片视觉劝服话语通过叙事过程和概念过程突出了残障群体的身份特征。在互动意义上，残障题材纪录片借助接触、距离、视角和情态传达了不带偏见的平视立场。在构成意义上，残障题材纪录片依托信息值、显著性和取景框，彰显了特殊群体的精神风貌。残障题材纪录片通过视觉符号的设计和多模态的组合运用，生成了特定的意义，达到了视觉劝服的效果。

第四章总结前文对24个纪录片案例的分析，对我国残障题材纪录片现存的挑战进行反思，并归纳合理的优化发展策略。研究发现，我国残障题材纪录片还需要在摆脱表现手法趋同的桎梏、把握呈现身体残缺的尺度、扭转大众残疾认知的误区等方面寻求突破，在优化策略上可以从探索贴合受众审美的时代化表达、塑造残障群体鲜活的立体化形象、强化残障共融议题的深入性探讨这三个方面来改善视觉修辞的劝服效果。

With the evolution of civilization in Chinese society, disabled groups have gradually been "seen" in the public eye. The disability documentary is a window for the public to understand the disabled group, and it is of great significance to promote the development of the disabled culture in China. Based on the theory of visual rhetoric, this paper selects 24 documentaries about people with disabilities collected by China Documentary Network and CCTV network in the past ten years for case study, and explores their visual rhetoric practice by means of multimodal discourse analysis, aiming to analyze how documentaries about people with disabilities achieve visual persuasion through visual rhetoric. The article is mainly divided into the following parts.

The first chapter focuses on the elements of the visual rhetoric practice of disability documentaries in China. After defining the concept of disability documentaries and combing the general situation of China's development, it analyzes its visual rhetoric practice from three aspects: rhetorical object, rhetorical goal and rhetorical method. The rhetorical objects can be summarized into three categories: the disabled group, the relatives and friends of the disabled and the person in charge of the institution. The rhetorical goals focus on three aspects: showing the real plight of the disabled, conveying the psychological demands of the disabled and shaping the positive image of the disabled. Rhetoric methods include time rhetoric describing the course of disability events, space rhetoric witnessing the occurrence of disability events and relationship rhetoric depicting the emotional bonds of characters.

The second chapter focuses on the various context levels of visual rhetoric in documentary films about disability, and analyzes the practice process of visual rhetoric in documentary films about disability from three basic context forms: intertextual context, situational context and cultural context. At the level of intertextuality, there are constitutive intertextuality derived from adjoint relation, associative intertextuality in juxtagmatic structure and metaphorical intertextuality in associative cognition. At the situational context level, we need to explore the discourse situation that advocates humanistic care, the issue situation that closely links with the proposition of disability, and the spatial situation that carries the story of disability. On the cultural context level, it is found that the social system emphasizing collective consciousness affects the ideological advocacy of the integration of disability and health, so it will choose to use the expression genre of real records to present it.

The third chapter begins to go deep into the visual persuasive discourse of documentary films about disability, and explores its meaning generation with the help of the framework of multimodal discourse analysis based on visual grammar. The research finds that in the sense of representation, the visual persuasive discourse of disability documentaries highlights the identity characteristics of disabled groups through the narrative process and the conceptual process. In the interactive sense, disability documentaries convey an unbiased perspective through contact, distance, perspective and modality. In the sense of composition, disability documentaries highlight the spirit of special groups by relying on information value, significance and viewfinder frame. Through the design of visual symbols and the combination and application of multiple modes, the documentary about disability generates specific meanings and achieves the effect of visual persuasion.

The fourth chapter summarizes the previous analysis of 24 documentary cases, reflects on the existing challenges of disability documentaries in China, and concludes reasonable optimization and development strategies. The research found that China's disability documentaries also need to seek breakthroughs in terms of getting rid of the shackles of the convergence of expression techniques, grasping the scale of presenting physical disabilities, and reversing the misunderstanding of the public's disability cognition. In terms of optimization strategy, the persuasive effect of visual rhetoric can be improved from three aspects: exploring the expression of The Times that fit the audience's aesthetic, shaping the vivid three-dimensional image of the disabled group, and strengthening the in-depth discussion of the issue of inclusion of the disabled.