This paper focuses on the main-melody (主旋律) documentary that reflects the political, social and cultural ideology of the Chinese documentary, and aims to examine the cultural strategy of China projected in the process. This concept was first used in China in March 1987, when it first appeared in the National Fiction Creation Conference hosted by the Chinese government. Since then it has been officially used within the Chinese Communist Party in 1994. After that it has become a term that indicates movies or films which convey Chinese government’s ideological route. In this context, main-melody documentary can be regarded as a documentary that reflects the national ideology of China, and can also be referred as a sort of government-led documentary. The Chinese government announced the plans to cultivate popular culture as part of its core cultural strategy, by proclamation of the Cultural Industry Promotion Plan in 2009. Under such political context, the research on film-making process of main-melody documentary is meaningful in terms that it directly reflects the concurrent cultural strategy of China. Therefore, the microscopic and synchronic analysis of documentaries that have been produced and broadcasted by China Central Television since 2011, has the potential to overcome the limitations of the previous studies which mainly have been concentrated on the macroscopic aspects. It can provide a multi-faceted, multi-layered understanding of Chinese documentary. As a result, it is possible to identify China ’s domestic ideological identity and its desire for globalization through soft power.