本文選題：IP電影 + 網(wǎng)絡(luò)文學(xué)IP電影�。� 參考：《西南大學(xué)》2017年碩士論文

【摘要】：在國外,IP的開發(fā)運(yùn)營已十分成熟,美國和日本的IP開發(fā)主要依靠漫畫的再衍生電影、游戲及周邊產(chǎn)品來擴(kuò)展其內(nèi)容的市場影響力,擴(kuò)大受眾覆蓋面,進(jìn)而強(qiáng)化IP品牌。在國內(nèi),IP的核心來源主要是網(wǎng)絡(luò)文學(xué),各大影視公司大量囤積網(wǎng)絡(luò)文學(xué)IP,但卻沒有形成一定的品牌,文本改編同質(zhì)化現(xiàn)象嚴(yán)重,內(nèi)容創(chuàng)生不足使得網(wǎng)絡(luò)文學(xué)IP受到多方詬病,版權(quán)開發(fā)分散且復(fù)雜,改編文本間的互相干擾也使優(yōu)質(zhì)IP失去先天優(yōu)勢。本文以網(wǎng)絡(luò)文學(xué)IP電影為主要研究對象,通過梳理網(wǎng)絡(luò)文學(xué)作品的發(fā)展以及類型化特征,分析媒介融合與IP產(chǎn)業(yè)鏈開發(fā)的內(nèi)在需求�；诤嗬ふ步鹚箤缑浇閿⑹吕碚撨M(jìn)行的框架性梳理,并結(jié)合戴維·赫爾曼提出的“故事世界”概念,以《鬼吹燈》為例從敘事主題、結(jié)構(gòu)、空間、人物等方面分析網(wǎng)絡(luò)文學(xué)IP電影的影像構(gòu)建方式,以期了解不同媒介完成共同敘事的產(chǎn)業(yè)模式,總結(jié)國內(nèi)跨媒介敘事的內(nèi)在邏輯。對比分析了國外跨媒介敘事的方式,發(fā)現(xiàn)國內(nèi)IP的轉(zhuǎn)換只能依靠一時(shí)的跨媒介傳播形成短暫的品牌,注重媒介差異性大于文本的關(guān)聯(lián)性,IP版權(quán)亂象使故事不能構(gòu)成統(tǒng)一的整體,受眾在多個(gè)文本中不能實(shí)現(xiàn)來回游走的問題。本文結(jié)合跨媒介敘事框架,對網(wǎng)絡(luò)文學(xué)IP電影的跨媒介敘事進(jìn)行了思考,并從故事世界的建構(gòu)、情節(jié)的互文設(shè)置、受眾分層管理及IP版權(quán)的完善等方面為以后的IP開發(fā)提供一些參考。
[Abstract]:The development and operation of IP in foreign countries has been very mature. IP development in the United States and Japan mainly depends on the rederivative movies, games and peripheral products of comics to expand the market influence of its content, expand the coverage of the audience, and then strengthen the IP brand. In China, the core source of IP is mainly network literature. Major film and television companies hoard IPs of network literature in large quantities, but they do not form a certain brand. The phenomenon of homogenization of text adaptation is serious, and the lack of content creation makes the IP of network literature subject to many criticisms. Copyright development is scattered and complex, and the interference between adapted texts makes quality IP lose its inherent advantage. This paper takes IP film of network literature as the main research object, through combing the development and the type characteristic of the network literature works, analyzes the inherent demand of the media fusion and the development of IP industry chain. Based on Henry Jenkins' frame analysis of cross-media narrative theory and the concept of "story world" put forward by David Herman, this paper takes Ghost Blow-Lamp as an example from the narrative theme, structure and space. In order to understand the industrial mode of different media to complete common narration and summarize the internal logic of cross-media narration in China, this paper analyzes the image construction mode of Internet literature IP film. By comparing and analyzing the way of cross-media narration in foreign countries, it is found that the conversion of domestic IP can only depend on the transmedia-media communication to form a temporary brand, and pay more attention to the relevance of media difference than text. IP copyright confusion makes the story unable to form a unified whole. The audience in multiple texts can not achieve the problem of walking back and forth. Based on the frame of cross-media narration, this paper thinks about the cross-media narrative of Internet literature IP film, and constructs the story world and the intertextuality of the plot. Audience stratification management and IP copyright improvement and other aspects for the future IP development to provide some reference.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I206.7;J943

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本文編號：1842199