在中国的国家能力和国际地位不断提升的时代背景下，增强我国的文化软实力并提高国际话语权的深远意义不言而喻。新媒体纪录片作为一种重要的艺术表现形式和大众传播产品，已成为业界和学界共同关注的重要领域，更是在“讲好中国故事，传播好中国声音”中具有独特作用。以纪录片讲述“中国故事”对外可弥合国际社会的质疑误解，展现真实立体的大国形象，对内能团结民心、凝聚广泛共识。新媒体纪录片因其所独有的艺术、技术、社会等多方基因，构成了一个多元主体共同介入的文化场域。央视网联合上海广播电视台、哔哩哔哩平台等制作出品的新媒体纪录片《人生第一次》《人生第二次》作为讲好中国故事的优秀案例，其“中国故事”的话语建构特色也值得深入探究。

本研究以“讲好中国故事”为视角，结合梵·迪克和费尔克拉夫的话语分析理论作为分析框架，基于7.1万字左右的多模态自建语料库并使用ROSTCM6、AntConc作为语料分析工具，对新媒体纪录片“人生”系列（包括《人生第一次》《人生第二次》）中“中国故事”的话语建构进行研究。探讨了新媒体纪录片“人生”系列中“中国故事”话语建构的具体特点及其在话语策略特征、意义生成方面的表现。研究问题具体为以下三个：“人生”系列新媒体纪录片作为一种话语建构“中国故事”的具体语境及其特征如何？其建构了何种“中国故事”，呈现出什么样的话语建构特征？又体现出什么样的话语逻辑及策略，其功能与意义如何？

第一章首先对新媒体纪录片“讲好中国故事”进行研究概述，在厘清核心概念的基础上阐明本文具体的研究方法设计与研究框架。其次，通过对新媒体纪录片“人生”系列话语的语境分析发现，关于中国式现代化话语体系构建的政治文化语境、基础设施数字平台化转向的媒介技术语境以及新媒体纪录片产业化的创作情境语境共同作用于“人生”系列新媒体纪录片“中国故事”的话语建构。

第二章基于费尔克拉夫的批评话语分析的三维框架之文本层面对“人生”系列纪录片的话语文本从宏观、中观和微观三个层次进行语料分析。基于自建语料库的清洗、梳理和分析发现，新媒体纪录片“人生”系列的话语宏观结构围绕主题展现出“家本位”的中国故事主题图式，经由宏观规则中的概括与组构对家庭人物关系进行结构呈现。中观结构基于对纪录片视听模态进行分析发现，纪录片以非虚构影像的观念搭建精巧创新性的声画系统，对中国故事进行了表意建构。微观话语结构以家国话语和主体叙事为显著特征。在词频方面凸显与当今社会紧密相关的核心家庭形态特别是个人社会身份的家庭建构，以及女性的母职身份。句式方面以主动的及物关系句式塑造了正面的国家形象与民族共同体认同感，同时突破“他者”话语的结构更突显出纪录片主人公的主体性。

第三章对“人生”系列新媒体纪录片话语建构则从三维框架的另外两个维度：话语实践分析以及社会实践分析展开。话语实践的分析发现，生产实践中话语采用了“隐喻-互文-接合”框架共同搭建中国故事的主题结构以吸引观影主体。分配实践从话语修辞来看，以引用、反问等话语修辞方式突出纪录片中的客观事实和主观情感。消费实践中，话语风格使用了圈层网络流行语和交往互动的媒介话语，以提升用户的观看粘性。这种平台话语的生产实践反映了其背后的社会意图，即建构用户作为交往实践主体的身份以提升平台在市场中的地位，同时也在主流文化的影响下提升平台用户作为“共同体”的内群感知度和文化认同。对社会实践的分析表明，新媒体纪录片“人生”系列从发展的故事、文明的故事、治理的故事三方面突显出话语建构者对“中国故事”所持有正面及肯定的意识形态，并透露出多方话语主体间潜在的权力结构关系。

第四章基于前文对“人生”系列新媒体纪录片的话语建构分析，总结提炼新媒体纪录片“讲好中国故事”的话语逻辑及话语策略。基于情感逻辑、平台逻辑和政治逻辑驱动“中国故事”建构，并通过“合作”话语策略、“人民”话语策略和“青年”话语策略的运用对纪录片生产、传播、消费端产生了积极影响。这也为将来我国新媒体纪录片“讲好中国故事”的话语建构生产策略、机构组织方式、传播运营手段等都出了有益探索。

Given the continuous improvement of China's national capabilities and international status, the far-reaching importance of strengthening the soft power of my country's culture and the power of international discourse is self-evident. As an important product of artistic expression and mass communication, new media documentary has become an important area of common concern between industry and academia, and has a unique and far-reaching role in "telling good Chinese stories and spreading Chinese voices". By telling the "China story" with a documentary film, it is possible to overcome the doubts and misunderstandings of the international community, to present a true and three-dimensional image of the great power, as well as to unite people's hearts and create a broad internal consensus. New media documentaries are a cultural field due to their unique artistic, technological, social and other multifaceted genes where multiple subjects participate together. The new media documentaries "Life for the First Time" and "For the Second Time in Life" are excellent cases of good Chinese storytelling, and the discourse-constructive features of these "Chinese stories" are also worth digging deeper.

This study takes "telling Chinese stories well" as the perspective, combined with Van Dijk and Fairclough's discourse analysis theory as the analysis framework, based on a multimodal self-built corpus of about 71,000 words and using ROST CM6 and AntConc as a corpus analysis tool, to analyze the new Research on the discourse construction of "Chinese stories" in the media documentary "Life" series (including "First Life" and "Second Life"). This paper discusses the specific characteristics of the discourse construction of "Chinese Stories" in the new media documentary "Life" series and its performance in terms of discourse strategy characteristics and meaning generation. The research questions are specifically the following three: What is the specific context and characteristics of the "Life" series of new media documentaries as a discourse to construct "Chinese stories"? What kind of "Chinese story" does it construct, and what kind of discourse construction characteristics does it present? What kind of discourse logic and strategy does it reflect, and what is its function and significance?

The first chapter first gives an overview of the research on the new media documentary "Telling Chinese Stories Well", clarifies the research objects and problems on the basis of clarifying the core concepts, and then explains the specific research method design and framework of this paper. Secondly, through the analysis of the context of the discourse of the "Life" series of new media documentary, it is found that the political and cultural context of the construction of the Chinese modern discourse system, the media and technology context of the transformation of the digital platform of infrastructure and the creation context of the industrialization of new media documentary work together on the discourse construction of the "Life" series of new media documentary "China Story".

The second chapter, based on Fairclough's three-dimensional framework of critical discourse analysis, conducts a corpus analysis of the discourse texts of the "Life" series of documentaries from three levels: macro, meso and micro. Based on the cleaning, combing and analysis of the self-built corpus, it is found that the discursive macrostructure of the new media documentary "Life" series presents a Chinese story theme schema of "family-oriented" around the theme. The relationship between family characters is presented structurally. The mesoscopic structure is based on the analysis of the audiovisual mode of the documentary, and it is found that the documentary uses the concept of non-fiction images to build an exquisite and innovative sound and picture system to construct Chinese stories. The micro-discourse structure is characterized by family-country discourse and subject narrative. The micro discourse structure is characterized by national discourse and subject narrative. In terms of word frequency, it highlights the nuclear family form closely related to today's society, especially the family construction of individual social identity, as well as women's maternal status. In terms of sentence pattern, active transitive relation sentence pattern shapes positive national image and national community identity, and breaks through the structure of "the other" discourse to highlight the subjectivity of the documentary protagonist.

In the third chapter, the discourse construction of the "Life" series of new media documentaries is carried out from the other two dimensions of the three-dimensional framework: the analysis of discourse practice and the analysis of social practice. The analysis of the discourse practice found that in the production practice, the discourse adopts the framework of "metaphor-intertextual-cohesion" to construct the theme structure of Chinese stories to attract the subject of film viewing. From the point of view of discourse rhetoric, the allocation practice highlights the objective facts and subjective emotions in the documentary by quoting rhetorical questions and other discourse rhetoric methods. In consumption practice, the discourse style uses Internet buzzwords in the circle and social and interactive media discourse to increase users' viewing stickiness. The production practice of this kind of platform discourse reflects its social intentions, that is, constructing the identity of users as the subject of communication practice to enhance the status of the platform in the market, and at the same time, under the influence of mainstream culture, promote platform users as "community" groups. Perception and cultural identity. The analysis of social practice shows that the new media documentary "Life" series highlights the positive ideology of the "Chinese story" held by the discourse builders from three aspects: the story of development, the story of civilization, and the story of governance, and reveals It reveals the power structure relationship among the subjects of multi-party discourse.

The fourth chapter analyzes the discourse logic and discourse strategy of the "Life" series of documentaries. The new media documentary "Life" series is a rational communication practice driven by three levels of logic: emotional logic, platform logic and political logic. The new media documentary "Life" series has had a positive impact on the production, dissemination, and consumption of documentaries through the use of cooperative discourse strategies, people's discourse strategies and youth discourse strategies. It has made useful explorations in production strategy, organizational logic, and communication operations.