Wild China 美丽中国纪录片


“We want the Chinese to feel proud of their countryside and wildlife, to care about it and to seek to ensure its survival. We also hope to redress the negative view of China’s environment propagated in western media.”
— Series Producer Phil Chapman, writing in BBC Wildlife magazine

Wild China is a six-part nature documentary series on the natural history of China, co-produced by the BBC Natural History Unit and China Central Television (CCTV) and filmed entirely in high-definition (HD).

With wildlife filmmaking in its infancy in China, and a perception in the developed world of a country plagued by environmental problems, the producers hoped that the series would change attitudes in both the East and the West. Filming for the series took place over 16 months, and involved half a million miles of travel on 57 separate filming trips to some of China’s most inaccessible and spectacular locations. The production team shot over 500 hours of HD footage in 26 of China’s 30 provinces.

Despite being granted unprecedented access to many remote and protected areas, one of the main challenges faced by the filmmakers was finding wildlife. Although 15% of China’s territory has some form of protection, this is not a guarantee of safety for wildlife, as reserves were often found to be under-equipped and under-staffed. In addition, they encountered a lack of local expertise and specialist knowledge, as few of China’s zoologists were naturalists with an interest in observing wildlife. Producers even struggled to film the courting behaviour of one of the country’s commonest creatures, the rice-paddy frog. Consequently, the team’s attempts to find and film wildlife were not always successful.

With the support of local party officials, the producers found it easier to contact and film local people. They were particularly keen to record examples of traditional lifestyles which incorporate the natural world to give the series a cultural context. The episodes were divided by region to present the distinct cultural as well as ecological differences.



Filming techniques

Over 80% of the series was based on traditional observational techniques in the wild. These were conducted in some of China’s most remote areas:

1)Apart from a handful of biologists, the Wild China team were the first to set foot in Tibet’s remote Chang Tang reserve for almost 100 years. After a five-day drive from Lhasa, they were faced with the challenge of filming rutting chiru in temperatures of -30°C at 5,000m above sea level. The sequence showing a duel between two rival males was successfully filmed after staking out the herds for seven days.
2)After two unsuccessful attempts to film wild giant pandas in the Qinling Mountains, the producers switched to a different part of the region, the little-visited Changqing Reserve. Here they were able to track and film the creatures in winter, and also film courtship and mating activity, the first time such a complete sequence has been shot in the wild.
3)Producer Kathryn Jeffs and cameraman Paul Stewart travelled to the remote Gaoligongshan mountains in western Yunnan and after a three-hour trek to a ridge overlooking the forest, managed to film a troop of bear macaques feeding on fruits in the canopy. A second sequence showing white-eared pheasants at a rarely seen lek was ruined when the birds were disturbed.

Certain sequences could only be filmed using special techniques:

1)High speed cameras were used to slow down the action 80 times to show a songbird evading the lunge of a Pallas’ pit viper on Shedao Island.
2)A time-lapse sequence of a remote Tibetan gorge was filmed using still images taken at intervals after the main filming camera broke down.
3)Infrared lighting enabled the team to film Francois langurs and bamboo bats covertly.
4)Thermal imaging cameras were used to show how the elephant yam uses convection heating at night to distribute its distinctive smell, which attracts pollinating beetles.

In some circumstances behaviour was too difficult to obtain in the wild, and controlled conditions were required:

1)Bamboo rats and Roborovski hamsters were filmed in subterranean burrows with glass side panels in a studio set.
2)The producers negotiated an agreement to take Chinese alligator eggs from an incubator at the Xuancheng breeding centre and place them in an artificial nest to film them hatching.
3)The courtship display of Temminck’s tragopans was filmed using a captive pair of birds habituated to the presence of humans. Hunting pressure has made the wild birds in Yunnan too wary to approach.
4)The slowed-down images of jumping spiders on Everest could not be filmed in the wild due to the impracticality of transporting high-speed camera equipment to the remote location, so a closely related species was filmed in a studio set.



3)制片人Kathryn Jeffs和摄影师PaulStewart前往云南西部偏远的高黎贡山,经过3个小时的搭乘牛车,抵达山脊处,拍摄到了森林的鸟瞰画面,以及一群短尾猴在树冠上觅食的画面。另一组镜头罕见地展示了一群白马鸡进行群集展示,但却被扰乱而终止。












“Heart of the Dragon”









“Beyond the Great Wall”



“Land of the Panda”



“Tides of Change”


Previous articleIntroduction of Legend of Zhen Huan 甄嬛传简介
Next articleAng Lee’s Film:Life of Pi李安的《少年派的奇幻漂流》


Please enter your comment!
Please enter your name here