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Discourse Analysis on Reading Communism via Independent Documentary Soundtracks

机译：独立纪录片原声阅读共产主义的话语分析

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Regarding the issue of independent documentary, the key question to be considered is whether the message conveyed to target groups or intended audiences is fully achieved. The usage of soundtracks to convey the message of an independent documentary is seen as an added value for audiences to digest the producers' idea. Zettl (2014) put the cultural, ideology and technological narrative message of the production based on soundtracks analysis (focused only on lyrics) as part of the narrative in soundtracks. Using an independent documentary 'The Last Communist (2006)' work of Amir Muhammad, this article discusses the 'reading' of soundtracks. These soundtracks represents the producers' idea and constructs a connotation meaning for audiences to consume as they want. The soundtracks are highly posed and are set in descriptive meaning to make them relevant across the globe. They represent actual places or tragedy, and they document witness, which symbolically represents moods such as 'contentment' and 'freedom'. This study implied a focus group discussion with informants that consider as the fourth industrial generation (4IR) whom have watched 'The Last Communist (2006)'. The topic of discussion is focused only on the soundtracks (focused only on lyrics). It is debatable that soundtracks reading cannot be described adequately in formal terms only. Rather, they are considered to be visual representations of metaphorical thoughts or concepts and the changing of time and mass. The implication will then be the ability to add more natural presentation and make the independent documentary more appealing. This study suggests the selection of soundtracks by a producer that represents cultural, ideology and technological elements and how they have affected the reading of the fourth industrial generation (4IR) group, thereby making this independent documentary as a byproduct quietly injecting the historiography and the struggle of the communists.
机译：关于独立纪录片的问题，要考虑的关键问题是传达给目标群体或预期受众的信息。声音传达的声音传达的用法被视为观众的附加价值，以便消化生产者的想法。 ZETTL（2014）将生产的文化，思想和技术叙事信息基于原声带分析（仅限于歌词）作为配乐中叙述的一部分。本文使用独立的纪录片'最后的共产主义（2006）的Amir Muhammad的工作，讨论了原声带的“阅读”。这些配乐代表了生产者的想法，并构建了一个内涵，即观众在他们想要时消耗的观众。原声带高度姿势，并以描述性意义设置，以使它们与全球相关。它们代表实际的地方或悲剧，他们记录证人，象征性地代表“满足”和“自由”等情绪。这项研究暗示了一个焦点小组讨论，与信息视为第四个工业代代（4IR）观看了“最后共产主义（2006）”。讨论的主题仅在原声带（仅限于歌词）上专注。值得注意的是，音轨读数不能在正式条款中充分描述。相反，它们被认为是隐喻思想或概念的视觉表示以及改变时间和质量。然后，该含义将是添加更多自然呈现并使独立纪录片更具吸引力的能力。本研究表明，制作人的配乐选择，这些制片人代表文化，思想和技术要素以及它们如何影响第四个工业生成（4IR）组的阅读，从而使这款独立纪录片作为逐步注入史学和斗争的副产品共产党人。

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