【摘要】：2015年,IP的開(kāi)發(fā)事業(yè)以網(wǎng)絡(luò)為發(fā)起平臺(tái)蓬勃發(fā)展起來(lái)。融合文化下,實(shí)踐者們和學(xué)者們一直在探索不同的方法,致力于用IP多平臺(tái)開(kāi)發(fā)平衡傳統(tǒng)敘事,以求在當(dāng)下的環(huán)境中取得成功。從跨媒介的角度來(lái)看,IP的實(shí)質(zhì)是媒介平臺(tái)用資金購(gòu)買(mǎi)或制作小說(shuō)、觀念、情境等知識(shí)產(chǎn)權(quán),依法進(jìn)行各個(gè)媒體平臺(tái)的文本開(kāi)發(fā),IP開(kāi)發(fā)催生了跨媒介文本。因此,跨媒介敘事——通過(guò)協(xié)調(diào)多個(gè)跨平臺(tái)的內(nèi)容生產(chǎn)創(chuàng)造沉浸式故事世界的戰(zhàn)略,在國(guó)內(nèi)外都在成為領(lǐng)域內(nèi)研究和實(shí)踐的重中之重。緒論梳理了國(guó)內(nèi)外的研究綜述,第一章結(jié)合綜述,將跨媒介敘事與跨媒體傳播、跨媒體營(yíng)銷(xiāo)、改編這幾個(gè)概念進(jìn)行了辨析,并界定本文對(duì)于IP的定義。后通過(guò)分析當(dāng)前IP的跨媒介敘事現(xiàn)狀,指出當(dāng)前網(wǎng)絡(luò)IP是進(jìn)行跨媒介敘事嘗試的首選資源。其次,第二章提出跨媒介敘事可以作為是內(nèi)容方為引導(dǎo)受眾參與故事世界的一種策略,確定了研究的的切入角度和分析方法。第三章選取網(wǎng)絡(luò)IP國(guó)內(nèi)外的典型案例《盜墓筆記》和《索菲亞日記》進(jìn)行分析,并在最后一章反思了國(guó)內(nèi)網(wǎng)絡(luò)IP跨媒介敘事并提供建議。
[Abstract]:In 2015, IP's development career took the network as the launching platform to flourish. Under the fusion culture, practitioners and scholars have been exploring different ways to use IP multi-platform to develop and balance traditional narrative, in order to achieve success in the present environment. From the perspective of cross-media, the essence of IP is that the media platform purchases or produces intellectual property rights such as novels, concepts, situations and other intellectual property rights with funds, and carries on the text development of various media platforms in accordance with the law. The development of IP gives birth to cross-media texts. Therefore, cross-media narration-the strategy of creating immersive story world by coordinating multiple cross-platform content production, has become the top priority of research and practice in the field at home and abroad. The first chapter analyzes the concepts of cross-media narrative, cross-media communication, cross-media marketing and adaptation, and defines the definition of IP in this paper. After analyzing the current situation of cross-media narration in IP, it is pointed out that the current network IP is the first choice for cross-media narrative attempts. Secondly, the second chapter puts forward that cross-media narrative can be used as a strategy to guide the audience to participate in the story world, and determines the cut-in angle and analysis method of the study. The third chapter analyzes the typical cases of "Tomb stealing Notes" and "Sofia Diary" of Internet IP at home and abroad. In the last chapter, it reviews the cross-media narration of domestic network IP and provides some suggestions.
【學(xué)位授予單位】：新疆大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：G206

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