本文關(guān)鍵詞：消費(fèi)文化語境下中國藝術(shù)電影創(chuàng)作研究　出處：《中國礦業(yè)大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 藝術(shù)電影 消費(fèi)文化 審美特征 創(chuàng)作不足 營銷手段

【摘要】：藝術(shù)電影作為一項(xiàng)很重要的電影門類,在中國電影百余年的歷史中扮演著不可或缺的角色。本文研究的藝術(shù)電影,主要是指那些不以票房為最高目的,在內(nèi)容上反對(duì)程式化的情節(jié)和模式化的人物,形式上嘗試使用獨(dú)創(chuàng)性和實(shí)驗(yàn)性電影語言的中小成本電影。長期以來,藝術(shù)電影一直在壓抑中艱難地生存,超高的評(píng)價(jià)和超低的票房形成強(qiáng)烈反差。身處當(dāng)下消費(fèi)文化語境中,藝術(shù)電影要求得生存和發(fā)展,就必須改變?cè)瓉怼案呃洹弊藨B(tài),加入一些大眾化元素,尊重觀眾的審美趣味,否則只能走向滅亡。藝術(shù)電影追求“藝術(shù)性”,消費(fèi)文化的本質(zhì)特征是“商業(yè)性”,這看似是一組相對(duì)的范疇,其實(shí)不然。“藝術(shù)性”和“商業(yè)性”分別是電影的兩面,通過創(chuàng)造一定的條件,二者可以互惠互利。本文在參考大量相關(guān)文獻(xiàn)和電影文本之后,首先在文章中明確提出自己對(duì)藝術(shù)電影的理解,并對(duì)中國藝術(shù)電影進(jìn)行清晰界定;其次,文章從藝術(shù)電影的審美特征切入,提煉中國藝術(shù)電影在作者意味、奇觀場(chǎng)景、哲學(xué)意蘊(yùn)和紀(jì)實(shí)美學(xué)等方面的探索與創(chuàng)新,指出藝術(shù)電影對(duì)于中國電影事業(yè)發(fā)展的意義,強(qiáng)調(diào)藝術(shù)電影在消費(fèi)社會(huì)中存在的必要性。當(dāng)然,藝術(shù)電影遭遇今天的窘境,不僅是客觀環(huán)境的作用,還有電影本身創(chuàng)作上的不足。文章分別從電影的價(jià)值取向、敘事策略和色彩基調(diào)方面分析了電影創(chuàng)作方面的缺失。文章在最后一部分試圖為中國藝術(shù)電影適應(yīng)消費(fèi)文化的社會(huì)語境提出有效的應(yīng)對(duì)策略。針對(duì)目前的消費(fèi)市場(chǎng),本文認(rèn)為藝術(shù)電影應(yīng)當(dāng)向商業(yè)電影取經(jīng),在創(chuàng)作和營銷兩個(gè)層面上“雙管齊下。創(chuàng)作方面,將觀眾的認(rèn)同機(jī)制、類型電影、明亮的色彩借鑒到藝術(shù)電影中;營銷策略方面要做到以下三點(diǎn):加強(qiáng)營銷手段、細(xì)化目標(biāo)受眾和建設(shè)藝術(shù)院線。目前,就國內(nèi)外的研究成果來看,研究藝術(shù)電影的文章遠(yuǎn)遠(yuǎn)少于研究商業(yè)電影的文章。本文針對(duì)這一現(xiàn)象,結(jié)合當(dāng)下消費(fèi)文化社會(huì)語境,提出藝術(shù)電影存在的問題,探索二者之間的微妙關(guān)系并找出可以讓它們和諧共處互惠互利的秘密,以期為中國藝術(shù)電影的理論研究添磚加瓦。
[Abstract]:Art film, as a very important category of films, plays an indispensable role in the history of more than 100 years of Chinese films. The art films studied in this paper mainly refer to those that do not take the box office as the highest purpose. In the content of the plot and stylized characters, in the form of trying to use original and experimental language of small and medium-sized movies. For a long time, art films have been difficult to survive in the depression. High evaluation and ultra-low box office form a strong contrast. In the current context of consumer culture, art film requires survival and development, we must change the original "high cold" posture, adding some popular elements. Respect the aesthetic taste of the audience, otherwise it can only go to extinction. Art movies pursue "artistry", and the essence of consumer culture is "commercial", which seems to be a group of relative categories. In fact, "artistry" and "commercial" are the two sides of the film, through the creation of certain conditions, the two can be mutually beneficial. This paper refers to a large number of relevant literature and film texts. First of all, in the article clearly put forward their own understanding of the art film, and the Chinese art film clearly defined; Secondly, from the aesthetic characteristics of art film, the article abstracts the exploration and innovation of Chinese art film in the aspects of author's meaning, spectacle scene, philosophy implication and documentary aesthetics. It points out the significance of art film to the development of Chinese film industry, and emphasizes the necessity of art film in the consumer society. Of course, it is not only the function of objective environment that art film encounters today's dilemma. There are also shortcomings in the creation of the film itself. The article respectively from the value orientation of the film. In the last part of the article, the author tries to put forward effective strategies for Chinese art films to adapt to the social context of consumer culture. In view of the current consumption market, the article analyzes the lack of film creation in terms of narrative strategy and color tone. Field. This article thinks that the art film should learn from the commercial film, in the two levels of creation and marketing, "two-pronged approach." in the aspect of creation, the audience's identification mechanism, type film, bright color should be used for reference in the art film; Marketing strategy to achieve the following three points: strengthen marketing means, refine the target audience and the construction of art academy. At present, from the domestic and foreign research results. The research of art film is far less than that of commercial film. In view of this phenomenon, combined with the current social context of consumer culture, this paper puts forward the existing problems of art film. This paper explores the subtle relationship between the two and finds out the secrets that can make them coexist harmoniously and mutually benefit in order to contribute to the theoretical research of Chinese art films.
【學(xué)位授予單位】：中國礦業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J904

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本文編號(hào)：1358383